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Thinking. Insights. Ideas.

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PRESENTS: FINDING BRAND

THE DIGITAL
INFERNO
A journey through the nine
circles of marketing hell.
Professor Mark Ritson never
fails to disappoint. In this all-
new presentation, Ritson will
outline the nine levels of hell
that digital is taking marketers
through. Everything from
bots, programmatic costs,
transparency, viewability, social
context, audiences and screen
size, the works.
SUCCESS
IN FAILURE
It takes a brave marketer
to admit failure. However,
those failures whether it
be planning failures, creative
failures, or campaign failures
will lead to incredible
learning experiences. We
hear from some of those
people who have failed, and
get a unique insight into how
it changed their tactics and
strategies forever.
BUILDING IN A
DIGITAL WORLD
Has brand building been
sacrificed in the name of
digital tactics? Are marketers
too concerned with push
messaging, than pulling
in the hearts and minds of
customers? How is a brand
grown and nurtured in a digital
environment; what are the
best examples, and what can
be learned from them?
THE NEW FACE
OF AGENCIES
Whose game is it anyway?
When a creative agency can
become a media agency,
a media agency is a digital
shop, and brand becomes
a publisher nothing is black
and white. With such blurred
lines, its hard to remember
the important thing is the
outcome. How are agencies
and clients reshaping what
they do to deliver better
results and relationships - and
whats working?
HEALTH AND
WELL-BEING
We all know that people are
key to business success and
good quality marketing, but
its getting ever harder to
balance life in the fast-paced
media world. In this well-being
psych-up session Matthew
Johnstone, ambassador of
Tonic Health Media will teach
you how to manage stress in a
busy media environment and
help you and your teams build
resilience, find balance and
develop mindfulness.

...plus more to be announced

AN EVENT

PRESENTING PARTNER SUPPORTING SPONSORS FASTFRONT SPONSORS HEALTH AND WELL-BEING

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SPEAKERS INCLUDE
TE
O
N
EY
K

MARK HARLAND MARK RITSON ADAM FERRIER

Marketing & Customer Experience Director, Adjunct Professor, Consumer psychologist and brand
General Motors International Melbourne Business School strategist

DANIELLE USKOVIC RODDY CAMPBELL NICKIE SCRIVEN CHRIS HOWATSON PAUL BROOKS
Head of Digital & Social, CEO, CEO, CEO, CEO, Carat,
Lenovo Bring (Universal Music) Zenith Australia CHE Proximity Australia & New Zealand

JASON TONELLI GEMMA HUNTER

Chief Digital and PAUL REES-JONES ASHLEY EARNSHAW Executive Creative Director
;LJOUVSVN` 6JLY Executive Planning Director, *OPLM 0U]LZ[TLU[ 6JLY and Head of MediaCom
Publicis Media ANZ Clemenger BBDO, Melbourne Carat, Australia Beyond Advertising, Australia
...plus more to be announced

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EARLY BIRD: $610 per ticket (incl GST)

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Group tickets
$585 incl. GST per person (when purchased in groups of 5 or more)
 Contents
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Features PRINT + DIGITAL

10 The Media + Marketing Summit: Check out the highlights from

the Sydney event, Ritson, Google, News Corp, Visa, IAG and more. SUPER BOWL ADS INSIDE BUZZFEED GUT INSTINCT DATA OBSESSION SIMON SINEK
A G E N C Y O F T H E Y E A R AWA R D S C I N E M A A D S A S I A W O M E N S A F L

Thinking Insights deas

adnews com au

16 TheProfile:NineCEOHughMarkswastaskedwithturningaroundthe
network 18 months ago, he bares all.
CULTURAL
20 Agenda: Three Ds are driving outdoor advertising data, digital and WHITEWASH
Advertising's lack of diversity and culture

dynamic creative.

25 Investigation: A look at how, and why, you should start your own
agency.

39 The Big Question: Do we need more media laws in Australia?

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Editorial
When I think about agencies that have been around
for decades like Ogilvy, M&C Saatchi and DDB, the
brands are so established and imbued with history
and heritage, its easy to forget that they were once
startups too.
The founders, David Ogilvy, Maurice and
Charles, Bill Bernbach, Maxwell Dane and James
Doyle, all set out with a vision to build an agen-
cy, forge a future in advertising, win clients and
change the way advertising was done. They put
their names above the door
and took the first steps.
There are always new
agencies starting up, but not
all of them succeed. As Jules
Hall, founder of The Hallway
sums it up in our cover fea-
ture, its much easier to start
than to succeed. So which
of the current flock of fledg-
ling agencies will become the
stalwarts of the next genera-
tion? Our cover feature ex-
plores how and why you set
up an agency and the les-
sons learned by those who
have been there and done it. E D I T O R
This issue also includes
R O S I E
the all new 2017 Agency map
- a full outline of the agency
landscape in Australia. It outlines the shape of all
the major holding companies and the major in-
dependents. Its presented by WPP - which since
forming a year ago has been looking at its port-
folio and how it can better leverage the talent,
and skills it has across the group to offer clients
a better holistic service. There are more than 90
agencies in the group, and more than 250 across
the industry.
Also in this issue, a profile of Nine Entertainment
www.adnews.com.au | June 2017 4
CEO Hugh Marks, looking at how hes instigated
a programming revival over the last 18 months
(p16). We also sit down with News Corp chief dig-
ital officer Nicole Sheffield and her team (p46),
take a look at the driving forces behind the out-
door industry (p20), ask if we need more laws to
regulate media (p 39) and hear some tales from
Cannes Lions (p34).
Meanwhile, on page 10 you can find a brief
overview of our Sydney Media + Marketing
Summit. Were ramping up
for the debut Melbourne
event on 2 August and tick-
ets are on sale.
The Melbourne event
will continue to tackle the
big topics in media and
marketing, with a distinct-
ly Melburnian f lavour. Our
keynote speaker is Mark
Harland, marketing and
customer experience direc-
tor of Holden. Sessions will
cover how to learn from fail-
ure, building brands in digi-
tal and the changing face of
agencies.
Mark Ritson will also
B A K E R
be returning to present his
Digital Inferno, taking digi-
tal, and what he sees as f limsy metrics, to task and
Tonic Health Media is returning with a health and
well-being session designed to refresh and revive
the mind. Tickets are on sale now.
Weve also got our Tackling Transparecy half
day forum coming up later this month. Its not
your usual conference, and the two panel debates
will take a unique approach guaranteed to offer
some workable solutions - not just more lip ser-
vice. See you there.
 Behind the Headlines
NEWS REVIEWS CONTEXT
ACCENTURE BOUGHT
THE MONKEYS
Accenture has acquired The
Monkeys and design agency
Maud. Speculation about who the
10-year old indie would sell to has
been rife for months if not years.
Following the acquisition, the first
concern many in the market had
was whether the agencys culture
and spirit could survive the tran-
sition to be part of a management
consultancy, however, co-found-
er and CCO of The Monkeys Scott
Nowell was quick to bat culture
doubts away.
This is definitively not the
death of The Monkeys, he says,
adding that it gives the agency
Facing the future
Facebook named its new Austral-
ian MD - revealing that former MD
Will Easton was returning - like a
boomerang - to fill the leadership
void left by Stephen Scheelers de-
parture earlier this year.
Its also yet again facing the
repercussions of misreporting
metrics this time having to
more fire-power. Its the oppo-
site. The Monkeys now has a cou-
ple of afterburners strapped on to
the back powering it into the fu-
ture, Nowell said.
The Monkeys and Accenture said
they were confident the move would
join the dots of a number of ca-
pabilities by founding a new model
that will see consultancy, creative
and technology merge.
Neither The Monkeys nor Ac-
centure Interactive would reveal
the terms of the deal, except to
say its a 100% acquisition. Found-
ers Mark Green, Justin Drape and
Nowell, are certainly smiling.
compensate clients for errors on
smartphone mobile web and vid-
eo carousel ads. While Facebooks
latest misreporting glitch was
claimed to have had a negligible
financial impact for most advertis-
ers, it further intensified calls to
open up more of its data to inde-
pendent third party scrutiny.
www.adnews.com.au | June 2017 5
Unpacking the package
The Australian government
has offered a package
of long-awaited media
reforms that ticked the
boxes and many in the
industry encouraged it
to be supported.
Overall, the package
includes the scrapping
of the outdated licence
fee in favour of a spectrum
charge, a revision of the anti-
siphoning list with several major
events removed and the delisting
period extended to 26 weeks.
As well as this, gambling ads
would be prohibited in live sport The comprehensive package
shown before 8.30pm including garnered praise from across
a five minute buffer before and adland and government. Nine
after the event, support for CEO Hugh Marks said the total
Australian-produced content and package should help the industry
under-represented sports such compete with global players
a womens codes and the repeal and Seven West Media chairman
the 75% reach rule and two out Kerry Stokes, understood to be
of three rule which currently one of the major roadblocks to
prevents a network reaching the initial package, called on the
75% of the population or owning senate to pass the package in
more than two media channels. its entirety.
Snaploss
Snapchat Inc failed to meet an- might be the next Twitter not
alysts expectations in its first fi- in a good way'.
nancial earnings announcement Snapchat is attempting to di-
since its IPO. versify its offering to add reve-
While Snap reported US$150 nue, adding the 'Shows' feature
million in total revenue in the to allow broadcasters and media
quarter, up 286% from US$39 partners to develop short TV-like
million a year ago, after nearly content, as it looks to attract TV
$2 billion in stock-based payouts advertising dollars.
were stripped out, the business
reported a $2.2 billion loss.
Snapchat daily active users
has risen by 36% from 122 mil-
lion to 166 million, however, this
is well below the 200 million us-
ers of Instagram stories.
Some in the industry have lik-
ened the fate of the photo-shar-
ing app to Twitter, with an article
in AdAge suggesting: 'Snapchat
 JASON SCOTT
CEO

JAMES DIAMOND
Managing Director JOHN MISKELLY
%JKGH&KIKVCN1HEGT

DEBATE #1
THE GREAT TRANSPARENCY DEBATE:
THE MURKY DIGITAL WATERS
Digital reporting, ad fraud, brand safety,
viewability. Helping marketers, media owners,
agencies and vendors see through the complexity.

TONY BELL TIM EGAN

National Digital Sales Director Regional Product Marketing Manager

NICK DURRANT KEVIN ACKHURST

National Head of Trading Director of Agency

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 BRETT DAWSON
Managing Partner

LIAM WALSH
Managing Director

SIMON RUTHERFORD
CEO

DEBATE #2
TRANSPARENCY IN AGENCY AND
CLIENT RELATIONSHIPS
Payment terms; disclosed and non-disclosed
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Director of Marketing &
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 The Work

M ore than 40% of Australians cant recognise a rip, however

the majority of us think we can. Our country is known as a
top beach destination the world over, so beach safety remains a
key concern. Surf Lifesavers patrol the beaches and red and yel-
low flags are set up daily
to deter swimmers from
dangerous currents, yet
drowning deaths con- Pocket Patrol
tinue to rise. Constant Agency: Leo Burnett Sydney
patrol is impractical,
but considering the 21 Brand: Samsung
deaths and more than
11,000 rescues each year W O R D S B Y
reported by Royal Life
D A I S Y D O C T O R
Saving Society Australia,
it seems we are well over-
due a rethink.
Cue Samsung and its creative agency of 12 years, Leo Burnett.
They spent time brainstorming product initiatives that would
marry mobile technology with community hazards and the issue
of beach safety resonated most. Armed with the knowledge that
roughly 95% of Australians are likely to bring their mobiles to
the beach, Samsung and Leos began developing Pocket Patrol.
Samsung and Leos contacted Surf Life Saving Australia (SLSA)
to aid in the apps early development and help strategise how it
could be both preventative and educational, and work in hand
with existing procedures. With a particular focus on submerged
rocks, shallow sandbars and rips, the app aimed to help swim-
mers and surf life savers recognise beach dangers and act ac-
cordingly, acting like a personal surf livesaver in your pocket.
Quite early on the team realised the biggest challenge would be
creating reliable and accurate technology that could monitor the
unpredictability of weather, they say. With this in mind, Samsung
and Leos combined GPS, compass and gyroscope technology and
developed a 360-degree virtual reality (VR) experience to demon-
strate what it felt and looked like to be caught in a rip. What the client says:
After months of internal testing through a series two-week
Samsung head of digital, Brett Turnbull,
long sprints, Pocket Patrol was finally trialled for four weeks
We wanted to find a problem that was worth solving and
in October 2016 at Queenslands Coolum Beach and Alexandra
then use technology to solve it. We were really surprised
Headland. During the month-long program, 3600 people down-
that the age-old problem of getting caught in a rip was still
loaded Pocket Patrol and identified beach dangers. A further
being addressed with age-old techniques there wasnt a
13.2 million beachgoers learned about beach safety through live
technological solution. When we partnered with Surf Life
events, social media, a VR 360 film and the online film. The story
Saving Australia, the app began falling into place. In the end,
of Pocket Patrol has already been covered by 144 tech websites,
it was a great collaboration. With projects like these we find
blogs, and both local and international news stations, helping it
that everybodys very passionate, not because theyre exciting
to reach a total audience of more than 20 million.
projects but because they truly make a difference. Working
Kits are now being sent out to all SLSA state offices which will
on something that could potentially save someones life
then be distributed to Surf Life Saving Clubs throughout Australia.
drove a lot of passion from all parties involved.
Samsung is hoping the app will be fully implemented at clubs
across the nation by the end of the 2017-18 summer.
 www.adnews.com.au | June 2017 9

What the agency says:

Leo Burnett Sydney joint ECDs,
Grant McAloon and
Vince Lagana
The best innovation is creative. It
seeks to answer a need in a way thats
relevant too. This is something that
underpins a lot of the work weve done
for Samsung. It makes tech meaningful,
particularly when it can provide instant
reminders of potential dangers. By its
very nature, communications tech is
a natural fit to greater safety. It serves
to remind, update and to advise on
how to stay safe. Pocket Patrol is an
extension of that, and we can only
expect that tech will continue to play
that role so we can all go about our
lives, free from dangers we might not
otherwise be aware of or think about.
 Media + Marketing Summit

The Media + Marketing Summit

A full day in Randwick
saw Professor Mark Mark Ritsons digital inferno Notafraidtotoothisownhorn,Ritsonproclaimed:
It turned out I was totally fucking correct.
Ritsons latest bombastic Professor Mark Ritson warned marketers they
Its all a load of cock does anyone not
could be falling into the same trap by believing
performance, Visa the hype around programmatic and the
know the age of organic growth is over? Why
marketer Jac Phillips effectiveness of digital ads, as they did around did we all drink the Kool-Aid so quickly?
organic social media in the early days. Whats to stop it happening again with
inspirational keynote, programmatic? You could all fall for another
Ritson, who presented his latest talk The
and a smash up between nine circles of digital hell, walked the audience trick just as easily.
Whats also on the
News Corp and Google though nine areas of digital marketing he
finds fault with. list to navigate? Fake
closed the day. In Number one, he said, was the blind news, murkiness, dodgy
between were thoughtful acceptance of digital. And he drew parallels measurement, over
between the early days of social media marketing pricing, brand risk,
debates on talent, robots, separation, delusion,
when marketers were sold the idea of organic
big ideas, data and reach and growth. That was later undermined, and finally, mania.
metrics and health and he said, by the onset of paid advertising on social You can catch Ritson
platforms that all but destroyed any organic reach at the AdNews Media
well-being. that had been built up. + Marketing Summit -
Recalibration: big ideas and creative flair Psych Up: presented by
Unanimous agreement: big ideas and creative flair have not been Tonic Health Media
forgotten in the digital maelstrom. TBWA CEO Paul Bradbury nailed it on A fiveminute guided meditation kicked
the head with more specifics. off the health and wellbeing session as we
Big ideas have changed in the last three to five years, that is, they now turned our attention inwards. Matthew Johnstone, illustrator,
have to be stronger to cut through, he said. However, we now know the coach and former ad man, offered some breathing space
big idea has to apply to the whole company it needs to inspire product and some wellthoughtout philosophies for coping with the
development, staff and consumers. hectic realities of life in media and marketing, and avoiding
His idea was supported by HCFs former CMO Jenny Williams and burnout. Acknowledgment, acceptance, patience and
Ubanks Jo Kelly who have both been at the forefront of creating and vulnerability are all key to achieving mindfullness, he said.
recreating brands by driving change across entire organisations. You can catch the session at the AdNews Media + Marketing
Kelly referenced her controversial and confronting campaigns, Summit - Melbourne on 2 August.
particularly Real Estate Tips From The Terminally Ill, which was produced in
conjunction with The Monkeys. The decision to run the campaign became
less about a subjective point of view, but more if it was the right work to
present us as a challenger. As such, the ambition and bravery to hit the
market with the campaign had to be supported across the company.
Williams was clear about her perception of the playoff between
PRESENTING PARTNER SUPPORTING SPONSORS
digital targeting and big brand messaging.
Digital allows you to become effective at the pointy end, she said.
But, you cant have the pointy conversation without having the big idea
at the front end.
Talking about pointy ends, Brent Smart, IAGs newly appointed CMO, set it
straight for the audience. The starting point is people dont give a shit about HEALTH & WELLBEING
FASTFRONT SPONSORS SPONSOR
advertising or they dont give a shit about your brand. Youre competing with
culture, he insisted. Youre competing with the latest show on Netflix.
Carat Australia
Australian retailers: underestimating an amazonian impact?
t shouldnt come as a surprise
I to anyone that our local retail
landscape is on the verge of dras-
tic disruption.
Discount retailer T.K. MAXX
opened its doors in Australia only
a few short weeks ago, and already
has announced plans to open 35
additional stores by the end of the
year. The other elephant in the
room, Amazon, isnt even here yet,
and its presence is already being
keenly felt. Or so we thought.
Appa rent ly not, however,
according to a recent retail insights
report, Innovation in Retail, from
The Commonwealth Bank.
When surveyed, only 11% of
Australian retailers classified
Amazon as a significant threat, with
49% declaring themselves unfazed.
Even more alarmingly, it revealed
that the majority dont have a plan
in place to combat Amazon when it
arrives on our shores. Of the 70% of
retailers who were actually aware of
Amazons impending arrival, only
14% had a formal plan in place to
effectively compete.
Thats when I start to sweat. See,
unfazed is fine admirable even.
Unprepared is not.
The fact is, when Amazon enters
a market any market it has a trans-
formative impact. Whether or not you
are among the brands considered to
be directly in Amazons cross-hairs
the likes of JB Hi-Fi, Harvey Norman,
or Myer the Amazon Effect is going
to change the way your consumers
want to do business with you.
No place for complacency
Such is the scale of its market influ-
ence, Amazon drives a seismic
shift in both consumer expectation
and behaviour. In every market it
has entered, the appetite for ecom-
merce has grown substantially,
as has consumer expectation on
the quality of every aspect of the
online shopping experience.
According to Internet Retailer,
Amazon comprised 65.9% of the
$53.1 Billion growth in U.S. online
retail in 2016.Put simply, if you
dont have an ecommerce offering
currently youre going to need
The recent arrival one. If youve currently got one,
its going to need to get better. A
of T.K.MAXX signals whole lot better.
only the first of a Without experiencing it first-
series of seismic hand, it can be easy to underesti-
mate the extent to which Amazon
shifts on the way has changed the game when it
for the Australian comes to ecommerce. However,
those who have, for example, lived
retail landscape, in a market where youre able to sub-
most notably scribe to Amazon Prime understand
the impending just how far the bar has been raised.
While this undoubtedly repre-
arrival of online sents an obvious threat, it also cre-
retail behemoth ates an avenue of opportunity for
brands by contributing to the overall
Amazon. Carats growth of the ecommerce category.
Head of Innovation, Many Australian retailers have improve its home delivery and
Robert Tilt, wants world-class online experiences
already The Iconic for example
brands to have a plan and for them, this is an opportu-
in place, not just to nity to ride the Amazon wave to
even greater success, as more and
defend themselves more people look to shop online.
against the Amazon For smaller retailers, Amazons
effect, but to expansion represents an opportu-
nity to break into the ecommerce
capitalise on it. market by setting up shop on
Amazon Marketplace.
For those who find them-
selves somewhere in the middle,
Amazons arrival is a reckoning.
Luckily, theres still time to bol-
ster your ecommerce offering in
line with consumer expectation,
ensuring youre not left behind
when the big day arrives.
in partnership with 12
First responders
Far from taking it lying down, a num-
berofAustralianbrandshavestepped
up their defences in anticipation of
Amazons arrival, with a particular
focus on cutting down delivery times,
increasing digital capabilities, and
better leveraging data to personalise
the customer experience.
Even more notably, however,
is the fact that many are rejecting
the idea of their bricks-and-mortar
store networks becoming redun-
dant, seeing them instead as a valu-
able asset in their Amazon arsenal.
Super Retail Group chief Peter
Birtles describes their retail net-
work of over 670 stores as a platform
to offer customers a more engaging
experience in an increasingly trans-
actional, product-focused economy.
They are currently working to cre-
ate a more seamless shopping experi-
ence between stores and their online
offering, adding a range of delivery
options including 90-minute click
and collect and same-day services,
as well as using customer data more
effectively to create personalised loy-
alty programs for customers.
Myer, Wesfarmers and JB Hi-Fi
are also said to be implementing
similar changes to ensure their sur-
vival in Amazons age of extreme
convenience. Supermarket giant,
Woolworths, has even established
a separate unit to review ways to
minimise the Amazon threat and
online businesses.
Not all doom & gloom
Amazons arrival doesnt need to
spell doomsday for your business. It
has the potential to present as many
opportunities as it does threats for
brands willing to be proactive in
adapting to the new economy.
Amazon will also need to prove
themselves locally and lure con-
sumers away from more estab-
lished competitors such as eBay,
so are not arriving unencumbered.
To learn more about what the
future holds for the Australia
retail landscape, download Carats
Retail Redefined booklet via the
website: carat.com.au.
 CARAT
PROUD TO BE
PRESEN T I N G PART N ER :

JO I N U S F O R T H E M E L B OU R N E S U M M I T
W ED N E S DAY 2 N D AU G U S T

EARLY BI R D T I C K E T S O N S A L E N O W
 Media + Marketing Summit

Jac Phillips: Leadership is everything

Jac Phillips senior director and head of marketing for Visa Australia,
New Zealand and South Pacific, was first on stage for the day, kicking
off with an inspiring walk through her experience.
She spoke about the need for a brand to have a consistent purpose
and to live its values through everything it does. Touching on the Makers
campaign she launched while at Bank of Melbourne, Phillips explained
that the bank, and the positioning, was about supporting Melburnians.
Because of this, it made sure every supplier, agency, actor and
contributor was based in Melbourne. And that all its ads featured Bank of
Melbourne customers.
Phillips talked about marketers obsession with digital, and the
tendency to favour the new shiny thing at all costs. While she raised
the topic, she also admitted that 60% of Visas spend is in digital. What will set us apart in Australia is talent, and tapping into the
The difference is we know its effective were tracking it, she said. diversity that exists around us every day, Phillips said.
The targeting available allows us to be more personal in our approach As a senior marketer with access to significant marketing resources,
than any other media, and personalisation increases engagement. and because money talks, I personally have quite an influence on the
She also spoke about the lack of female leaders in marketing and industry and its future.
CEO positions, and called for quotas to get the ball rolling. Quotas are It kills me to think that no large creative agency Ive worked
controversial, but thats not something that scares Phillips. with has had female creatives or Asian or Indian or other cultures at
While diversity gets talked about a lot, Phillips said she had to hire a senior levels.
female creative director on her team at Bank of Melbourne because she An enlightening Q&A session afterwards with Carat CEO Paul Brooks
wasnt convinced the agency took it seriously enough. touched on the importance of leadership. Its everything, she summed up.

Google and News Corp by the fireside
Unsurprisingly, the first thing Google managing director Jason
Pellegrino did on stage was apologise for letting people, and the
industry, down around brand safety concerns. However, he went on to
state that no media channel, digital or otherwise, can promise 100%
brand safety.
While News Corp chief digital officer and IAB chair Nicole Sheffield
and Pellegrino agreed on a few things, it didnt take long before things
heated up in the passionate fireside chat which closed the day.
The pair spoke at length about brand safety, the benefits of the
imminent IAB/Nielsen digital daily ratings, and whether the tech giant
should take more responsibility over funding content creation as it
consumes a growing slice of the ad revenue pie.
The discussion moved towards current questions over the
effectiveness of digital channels, which both were quick to dismiss.
Pellegrino said fighting against the media consumption trend towards
digital platforms or trying to prove its not happening is counter-
productive.
However, I think weve done an incredibly bad job as an industry in
proving the value of marketing and media to CEOs and boards across
all channels, he said. How do I know that? Because the growth in
spend is incredibly anaemic.
Sheffield also focused on the role of digital media
as a discovery channel for consumers not just a last
click channel and that the industry hasnt put enough
emphasis on that.

If you missed out on the Sydney

conference, The Media + Marketing
Summit is coming to Melbourne on
2 August with a brand new line up.
Plus, Professor Ritson will be back at
the Melbourne event. You can check
out the agenda and buy tickets online at
www.mediamarketingsummit.com.au

Will a robot steal your job?
It might be feared, but a robot is
not about to steal your job, and we
probably have 20 years before AI is
going to transform the workplace,
agreed the panel. Overall, its still a
people business. This will come as no
surprise to those in the creative field.
As Clint Parr head of people and
culture at Clemenger BBDO Sydney
said: Computers havent quite cracked
it. We need people in the creative
industry who can oversee what the
robots are doing.
Clint then went on to cite the book
Deep Work by Cal Newport, who
stresses that in a world with so many
distractions, those who are able to
focus or concentrate will be rewarded
in the future.
The panel, however, was conflicted
on the current pool of talent in Australia,
and raised the topic off the back of
the recent 457 visa announcements.
Virginia Hyland, founder of Hyland,
stressed there was not an absence
of talent in Australia, however, more
people who have greater specialisation
are required to teach people.
Her thoughts were echoed by
Airtaskers VP of marketing, Simon
Reynolds, who said the startup hasnt
looked overseas for talent.
Anthony Hourigan, CEO of Hourigan
International, warned the talent pool
in advertising and media has shrunk,
and that the great free flow of human
capital increases wealth in Australia.
He said the governments move to
restrict the 457 visa does not send
the right signals out.
Innovation: gimmick or 15
genuine growth driver?
There are often two types of innovation thrust at
a brand: innovation porn which favours fancy,
shiny gadgets; and almost pious innovation which
takes itself too seriously and requires, longterm
investment, Maxus global director of innovation,
Tom Kelshaw said. He appeared before the
panel with a 10minute keynote, stressing the
importance of trying to find a healthy middle.
Fairfax chief revenue officer Matt Rowley, who
also leads its innovation strategy, was bold
enough to talk about his companys future
in light of the recent instability its faced
and when its also cutting jobs. Fairfax is
using innovation to rescue the bottom
line, he said. If panellists were prepared
to entertain the notion of innovation as a
gimmick, that was certainly not the reality
faced by Rowley and his team.
James Sugrue, whose company AFK
specialises in building out innovative
mobile platforms, explained that
innovation tends to work best when trust
has been built with a client, so there is an
appetite and a commitment.
The panel also touched on innovation
labs and the role they play for brands and
agencies, with the panel split on whether
they provide genuine revenue-driving
innovation or are a frivolous playground.
Data and analytics in a A question from AdNews editor
Rosie Baker in the audience challenged
posttruth world Facebooks ability to offer trusted metrics in
We would like YouTube to open up and light of its numerous admissions of mistakes
move to thirdparty measurement, was in its reporting. Lockwood gave a top-line
the call from GroupMs chief digital officer answer regarding Facebooks openness in
John Miskelly. Issues such as thirdparty the face of the revelations.
measurement, viewability standards and RadiumOne managing director, Adam
metrics, being the most discussed issues Furness, agreed there needs to be a
within marketing, were given an airing at business conversation.
the summit. The metrics conversation has turned
Miskelly was the first to call out Google into a boring one, he complained. I want to
but the panel did not shy away from opin- move it on to one about sales outcomes.
ions. Facebooks head of marketing science, ADMA IQ managing director, Richard
Steve Lockwood as you might expect Harris, was also blunt about the viability
reiterated the platforms call for establishing of viewability metrics. Viewability is not a
a new metric; one that moves away from successful metric for a number of reasons,
viewability as a silver bullet. He suggested he said. Agencies want to prove outcomes,
the most important metric must be based but there are brands who dont trust their
on return on spend and that such a metric agencies, and this is where a lot of the
could be applied across any channel. problems lie.
 The Profile

Making a mark
ive months into his new role,
F Nine CEO Hugh Marks could
have been forgiven for wondering
what he had gotten himself into.
The network was being trounced
by its arch rival Seven, culminat-
ing in the embarrassing situation
Hugh Marks has had a rollercoaster ride since taking the helm of Nine in which Sevens juggernaut My
Entertainment Company 18 months ago. At a pivotal time for media Kitchen Rules offered its winning
owners in Australia, he explains how he led a programming revival and contestants more prize money
($250,000) in its finale than Nines
what the future media owner-advertiser relationship looks like. reality flop Reno Rumble could
attract viewers (249,000) to its
W O R D S B Y showstopper.
A R V I N D H I C K M A N
One of the countrys most
respected content guys already
had a major task on his hands
without the ratings false start.
Taking the helm from Nine legend
David Gyngell, Marks was charged
with revitalising the network and
transforming the business for a
fragmented, digital age where
audiences and advertising budg-
ets were slowly leaving traditional
media channels.
That first 12 months was
really tough, there were many
challenges, Marks recalled.
Programming had staffing issues,
there was no CFO for six months,
legal disputes with channel Seven
[over claims about Today and
Sunrise], disputes getting out of the
Warner Brothers contract. There
was a whole bunch of things that
we just had to get done to basi-
cally put the business in a position
where we could move forward.
To be fair, Marks had little to
do with the 2016 schedule. He took
over in November 2015 well after
programming was mapped out.
MKR has dominated ratings in
every season since it launched in
2010 and a reboot of Australias
Got Talent was never likely to
make much headway. The show
began earnestly with average
metro ratings of 865,000, but grad-
ually declined to a season low of
594,000 five weeks later.
Its a challenge this network
has had for a fair period of time,
launching a season effectively
against My Kitchen Rules, but that
was probably not one of our better
efforts, Marks pointed out.
Few in the industry understand
what it takes to create top qual-
ity TV programs like Marks. In a
17-year career, he has served as a
director of Nine Films & Television

and Nine Network Australia (1998-
2002) before becoming CEO of
Southern Star Entertainment
(2002-2005) and the Southern Star
Group (2005-2009), overseeing
more than 500 hours of film and
TV production.
We were forced quite early
to make some pretty bold deci-
sions around how we were going
to respond to that, Marks said.
We felt that in Married At First
Sight, having watched the show
in a previous eight-episode run,
there were a lot more story arcs
in the content than we were
currently let ting happen in
the way the show played out.
Even from this year to next year,
we can still see the same. There are
still a few episodes towards the end
of this year where we would have
liked the content to be a bit tighter,
but we can still see there are story
points to be brought out in the
show that contribute to what the
essence of the show is: an experi-
ment about what makes great part-
nerships, great couples.
Backing an expanded Married
At First Sight format to lead 2017
was a calculated gamble to say
the least. Since the show debuted
in 2015, the series average audi-
ence had declined from 1.12 mil-
lion metro viewers to 880,000
in series three. The longest the
series had previously run was
eight episodes - now Nine was
going to expand it to 29. If it failed
to resonate, the potential fallout
would be massive.
We used to make it internally,
but Shine had just lost The Bachelor
so they had a crew there that was
ready for this sort of program,
Marks explained. Obviously we
have a long and strong relation-
ship with those guys, and I always
felt confident that we had more
improvement in our performance.
What resulted were far higher
production values, better cast-
ing and a storyline that hooked
younger viewers from the first
episode. The show debuted at
820,000, but only eight episodes
later smashed through the one mil-
lion mark and never looked back.
In fact, by the end of February,
Married At First Sight had dislodged
the previously impenetrable MKR
as the top rating entertainment
www.adnews.com.au | June 2017 17
show when the two juggernauts
went toe-to-toe.
How well it did even surprised
us, Marks admitted, even though
sales boss Michael Stephenson was
particularly bullish with AdNews
prior to launch.So its been a
really pleasant surprise. I think
the other thing that is interesting
about that show is how its per-
formed across all of our platforms,
not just on television.
The other platforms Marks
referred to is its 9Now advertis-
ing on demand platform (AVOD),
where Married regularly attracted
more than 100,000 viewers on
catch-up. The secret behind
Marrieds success, Nines boss said,
was winning over the hearts and
eyeballs of young women, where
MKR might be vulnerable.
In a sense, we had the per-
fect show for that dynamic and
the numbers that played out were
really what we planned, Marks
said. The extent of the result was format that places families of cooks
more than we planned, but having up against one another.
said that, Im sure Seven will make
What keeps me The plan was very much to
a strong comeback next year. awake at night is build and deliver consistency across
Since Married, Nine has con- how do I continue to the year, especially in those early
tinued its strong resurgence in grow the amount of evening slots, Marks explained.
ratings, with The Voice averaging money I can spend on Big shows, big entertainment
above 1.1 million in the blind audi- attracts a big audience. Then to
tions phase and often ahead of
the type of content cleverly work out around those
Tens major tent pole MasterChef I know Im going slots where we can find other
and Sevens House Rules. to get audience opportunities to launch shows
Nines The Last Resort hasnt engagement? that may have more potential or
quite gone to script. The first two just work as a nine oclock show
episodes posted poor ratings of just around the bedrock of the news
above 400,000 metro viewers at and current affairs franchises.
the time of writing, raising ques- Another important develop-
tions about whether theres too ment, Marks pointed out, is Nines
much relationship car crash reality Hugh Marks, Nine investment in Stan where it is a 50%
TV at the moment. Entertainment CEO joint venture with Fairfax Media.
Beyond this, Nines program- This gives Nine skin in the game
ming slate promises more hits than in the important and growing sub-
misses with Hamish and Andys scription television sector where
new show coming in June before the an increasing number of younger
widely anticipated Australian Ninja viewers are watching content as
Warrior, which looked impressive in and when they please.
production. We can start to see the way
Ive seen the first episode of the that audiences are consuming free-
show and it is something that audi- to-air and on-demand content and
ences havent seen before, Marks we are getting some real interesting
said. Ninja Warrior fits that same learnings out of that, Marks said.
thing for me which is always giving The two very much work as com-
the audience something thats new plementary viewing experiences.
and surprising rather than just nec- So then how you balance your
essarily a recycle of something that budgets and your cost of acquisi-
someone else has done. tion of audience on free-to-air ver-
This is followed by ratings stal- sus Stan, between the two, thats
wart The Block and a new food our business.
 The Profile
Nines turnaround in ratings
is likely to see an uplift in its sec-
ond-half FY17 results after a diffi-
cult first half. The group reported
a 5% drop in revenue to $659.2
million and 6% decline in earnings
(EBITDA) to $101.4 million, com-
pared to the same period in FY16.
Nines u-turn from a terrible
start in 2016 to a strong 2017 is the
inverse of fortunes to rival Ten.
The difference between the two,
according to Marks, is that Nine
maintained a reasonable degree of
profitability and wasnt straddled
with the same levels of debt.
Its not good for our interests
for there to be a poor perform-
ing network, he said. Last year,
Nines performance generally,
when we had a poor year, actually
contributed to a bit of decline in the
market, he revealed.
So really you want all broad-
casters performing strongly and
vibrantly and for it to be a really
great industry and the competition
to be intense.
He said that Ten is a good busi-
ness they have got a good team,
theyve made some good shows.
Its just got some things that are
working against it at the moment
that are contributing to that neg-
ative noise around profitability,
funding, financing - long-term cash
flow issues, Marks said.
We are just all in the process of
working out what that transition is
and how fast you make that transi-
tion to what that business looks like
in the future.
Marks told AdNews one chal-
lenge in the TV business is finding
the right balance between what
we spend on cost and what we
We need to innovate make in revenue, something Nine
and Seven have managed more suc-
in how we work with cessfully in recent times.
advertisers so it We have to be in the business
becomes more of a of managing effectively that cost of
business relationship programming compared to the rev-
that will dominate enue that we make, he explained.
As an example, between the 2017
the future. schedule and the 2016 schedule for
Nine, for our prime time entertain-
ment programming, our cost per
hour of program is down by 13%.
When he became CEO at Nine,
Marks took a decision to reduce
Nines unit cost of production,
which had risen in the years prior.
Hugh Marks, Nine This involved going through each
Entertainment CEO program and the mix of program-
ming to bring costs down.
Sometimes the answer is to
do more of a successful show, but
in a way where it brings your unit
cost per hour down. So if the audi-
ence is still there for those extra
hours and youve brought your
cost down, well thats effectively an
additional investment at a higher
marginal return, he said.
Nines Married At First Sight
would be an example of expand-
ing a successful format even if the
production quality has increased
this time around. Another way to
reduce costs is to trim spending on
elements of a show that are not as
materially important to the success
of the final package.
Having a bit of history in that
myself over many years thats
what I did for a good decade of
my career hopefully Ive brought
some of those skills to this place
and the odd million here and there
that you can either reduce or get
a greater efficiency out of pro-
grams. That margin makes a huge
difference to your business, Marks
explained.
He believes the major challenge
across the media industry is pro-
ducing high demand content that
brings in an audience and engage-
ment whether that be print, televi-
sion, radio, digital or any channel.
So what keeps me awake at
night is how do I continue to grow
the amount of money that I can
spend on that type of content
where I know Im going to get that
audience engagement? Marks
revealed.
The second thing is when I get
that content, how do I innovate
my distribution platforms so I am
aggregating audiences across more
platforms rather than just my old
platform which was free-to-air tele-
vision? And do that in a way where
you are adding audience across
your platforms rather than neces-
sarily just looking at a fragmenting
business on one side?
In the past couple of years, all
of the major networks have been
at pains to tell the market that
they are very much more than
TV with significant digital media
businesses. Nine has spent much of
the past 18 months restructuring its
digital offering into verticals that
it can go to market with, such as
its womens network 9Honey, its
celebrity portal The Fix, cooking
section Kitchen and more.
The verticals make it easier for
the network to go to advertisers
within specific categories and are
designed to make it easier for users
to find articles that interest them,
driving traffic with clickable con-
tent. Nine has also grown 9Now to

beyond three million subscribers
and is pushing out more content
on social. The new structure has
helped Nine grow its digital reve-
nue to about 12% of total revenue,
still well below televisions share.
Marks believes that closing the
sales loop across all of Nines assets
and changing the way the network
deals with advertisers is the next
step in its evolution.
Rather than hav ing this
purely trading relationship that
has dominated the past, we need
to innovate in how we work with
advertisers so it becomes more of a
business relationship that will dom-
inate the future, he explained.
Because what you can do when
you are a media organisation like
us now - where youve got this
great big free-to-air business,
SydneyBoatShow.com.au
www.adnews.com.au | June 2017 19
weve got a growing on-demand This will involve working
business and weve got these dig- closely with agencies and clients
ital publishing businesses and the to try to build holistic relationships
ability to publish onto social - we across a year, where we start to
havent yet fully explored how address the whole business issue
we can turn our content produc- rather than just selling them a
tion machine to that full execu- sponsorship of a particular pro-
tion across all those platforms. gram Marks said.
I think thats the next challenge I think we are just looking at
for us as a business. Take adver- where the categories of revenue
tisers and sponsors on that jour- are, where clients are looking for
ney with us in ways where we are either programmatic, native, data-
actually really providing business driven or mobile-type solutions
solutions rather than just trading and starting to build more exper-
opportunities. tise in those specialties rather than
Of course the trading bit will looking at it just as a digital busi-
still dominate, but thats where ness, he revealed.
we need to work at the margins. So we are resourcing for
Thats something Im quite enjoy- that, resourcing for specialty and
ing getting involved with and really basically building much stronger
challenging what advertising rela- and close relationships between
tionships look like in the future. agency, client and media.
3 to 7 August
International Convention Centre Sydney
and Cockle Bay Marina, Darling Harbour
 Agenda

Outdoors dynamic future

In the wake of the
collapsed Ooh!Media
merger with APN Outdoor
that would have stirred up
dramatic change, digital,
data and dynamic creative
remain the three forces
driving the future of out of
home advertising.

W O R D S B Y
D A I S Y D O C T O R

here are three 'D's driving

T the out-of-home industry at
the moment, digital, data and dy-
namic creative, JCDecaux CEO Ste-
ve O'Connor recently told AdNews.
It sums up the forces at play
from advancements and invest-
ments in technology and digital
screens to the backend systems
that inform what appears on them
and how campaigns are planned.
Outdoor has changed dramat-
ically in recent years and just last
month the planned merger of
Ooh!Media and APN Outdoor,
which would have massively
shifted the playing field again,
collapsed. Both sides walked
away from the deal following a
"surprisingly adverse" response
from the ACCC. Explaining the de-
cision, Ooh!Media CEO Brendon
Cook said the company remained
committed to innovation and dig-
ital. He also said Ooh! would in-
vest around $40 million CAPEX
in developing and building data
systems that would underpin a
"well-rounded digital strategy".
By marrying data and out-of-
home (OOH), the true potential of
the channel is being realised and it's
allowing the medium to shift from
broadcast to targeted. Media own-
ers can gauge the number of 'eye-
balls' passing a billboard or screen,
the dominant audience profile,
ensure external factors and adver-
tisers can adapt content according-
ly. Shifting from claimed to actual
metrics, OOH can now offer a guar-
antee of audience and accuracy like
never before, meaning less wastage
for advertisers and more relevance
to the consumer.
However, there is an Orwelli-
an flip side to the advancements
which conjure Big Brother-esque
anxieties. We've edged closer to
a Minority Report reality of acute
profiling and personalised out-
door advertising. Wherever data
is in play, there are concerns over
privacy and anonymity. OOH
companies are quick to quell fears
with the reminder all data is an-
onymised and the medium will
never be completely one-to-one.
Posterscope MD Bryan Magee
says although audiences are tight-
ening and becoming more target-
ed, it's a mass channel - one-
to-many or one-to-few where
advertisers direct messages at
clusters of people.
For Cook, while he sees a future
where anything that is possible
in online advertising is possible
in outdoor, he says using data is
about answering a question for
your client.
The more sources available to
answer that question, the more
effective and contextual a cam-
paign becomes. He agrees OOH
will never be entirely one-to-one,
but says his job is to define the
many better.
A data tsunami
Each outdoor company is adapt-
ing to data is different ways with
partnerships playing a key role. In
the last three months, Adshel has
taken steps to ramp up its data of-
fering, establishing partnerships
with big players in data including
The Rubicon Project and Lotame.
Lotame will provide Adshel
locations with audience insights
from its Data Management Plat-
form (DMP), focusing on online
and mobile demographics, behav-
ioural and purchase intent pro-
files. Adshel chief revenue officer
David Roddick called the partner-
ship a game changer and con-
siders it a step towards 'person-
alisation at scale' via automated
technologies.

JCDecauxs Orbit is a geo-spatial
tool which stitches a number of in-
dustry sources using census data
as its backbone. Sources inducing
ABS data, Enhanced Media Metrics
Australia, as well as segmentation
products like Helix Personas are
fused together to map metro loca-
tions to granular levels.
Orbit is used in the business
three to four times a day and now
uses proximity variables, where
things like Commonwealth Bank
branches and childrens kinder-
gartens can be mapped to help
meet a clients objectives, says
marketing director Essie Wake.
Heat maps can indicate the af-
fluence of a suburb and show what
demographic is passing an area at
a particular time, weather maps
can show UV rays measured down
to 10 metre area. A campaign for
the Cancer Institute saw panels
react to UV levels and change the
message served depending on the
rating.
Soon, JCDecaux will launch its
Codex DMP, the result of a part-
nership with Data Republic. It will
overlay the OMAs Move with West-
pac transactional data. It will know
where consumers shop, when
and how much they spend, where
they live and how they move in
and around JCDs coverage are-
as, allowing JCD to optimise and
demonstrate the value of its net-
work locations with real precision.
A year ago Ooh!Media formed
an exclusive data partnership
with Quantium which is coming
to fruition now, says CEO Cook.
It combines transaction data with
mapping tools, audience profil-
ing, measurement and research
to give weight to true multiplat-
form campaigns.
Programmatic realities
The proportion of outdoor screens
that are digital is ever increasing,
and most see programmatic as
the next step for OOH, but what
that actually means is often un-
clear. It's a buzzword within OOH,
but the implementation of a pro-
grammatic buying system, which
streamlines the planning and
buying of campaigns targeted to
relevant demographic audience
would put outdoor in the same
league as any other digital screen.
It's simultaneously considered far-
off and already in existence de-
pending on the definition of pro-
grammatic.
While its partnership with The
Rubicon Project is Adshel's first
step towards automating the pro-
cess giving trading desks access
to its inventory, Roddick says he
prefers to steer clear of the term
'programmatic' entirely. But, if
this method of buying and plan-
ning means unilateral campaigns,
then for Roddick, programmatic is
the gateway for media channels to
finally come together. If it means
we can buy and plan campaigns
alongside each other, it has to be a
good thing, Roddick said.
The OMA's Automated Trans-
action Platform aims to provide a
www.adnews.com.au | June 2017 21
one-stop shop for buying and selling
outdoor across Australia. The 'single
No longer will source transaction system' is also
advertising be seen to be world leading, but it's not
delivered in the a full programmatic solution.
hope that it will VMO, which only operates dig-
ital screens, is aggressive in its
be delivered to the programmatic endeavours. It re-
right audience. cently launched a programmatic
offering using data collected from
its Digital Outdoor Audiences in
Real Time (DART) measurement
system, to deliver personalised
Anthony Deeble content that targets specific audi-
VMO MD ences. VMO MD Anthony Deeble
says at its core, the offering will
mean less wastage and better ads.
No longer will advertising be
delivered in the hope that it will
be delivered to the right audience,
we now have a better perspective
and better engagement with con-
sumers, says Deeble.
Others still believe true pro-
grammatic in general is still some
way off. Goa's Tyquin separates the
intertwining of dynamic creative
and real-time buying arguing Goa is
already using automated platforms
to change content in campaigns.
People are understandably ap-
prehensive about programmatic.
Automated buying would mean we
would become a commodity, the in-
dustry is not ready, he warns.
For Cook, it is about fu-
ture-proofing automatic trading;
implementing bigger and more
robust systems. With the medium
clearly in the public space, Cook
says the industry needs to remain
conscious that not all systems and
rules work with OOH and, in rela-
tion to brand safety and automated
trading, we cant afford to the kind
of mistakes happening online.
Dynamic creative
For many, programmatic goes hand-
in-hand with dynamic creative, using
a multitude of different data points
to build and serve different creative.
The possibilities are almost endless,
but often the complaint is that cre-
ative ideas are not keeping up with
the technological capabilities.
Cook says: As an industry we
move relatively quickly, the scale
of digitisation means classic crea-
tive use of the medium was always
going to lag.
Cook has his sights set on in-
novation and contextual creative,
 Agenda
which will always be a better
sales proposition.
High profile examples such as
Bonds Boys show the potential
of OOH but Cook says at the start
of the campaign the client wasnt
aware of what was available. The
Bonds Balls screen, which hung
in Melbourne CBD on the Bourke
Street Mall site, reacted to weather
conditions. When the temperature
dropped, the boys would shrink to
the top of the billboard, and hang
low on warmer days.
This level of reactivity through
data was not difficult to execute
he explains; the data is available,
its now the creatives and media
agencies that need to catch up.
Roddick says while there has been
a central shift in the way media
is being perceived, creative and
planning teams need to be en-
couraged to keep up. The data is
all there, the difficulty is making
advertisers get behind it.
Warnings and privacy
While there's tonnes of opportu-
nities, there are definitely some
'watch-outs' and all players are
careful to emphasise safety as data
becomes more pervasive. APN
Outdoor CEO Richard Herring
warns with technology moving so
fast and as audience measurement
tools become more sophisticated,
the industry needs to work togeth-
er to avoid major mistakes and
maintain consumer trust.
He acknowledges the need to
harvest data anonymously and
not cross boundaries when it
comes to privacy. More than any-
Our network ensures brand impact 24/7,
connecting you with more audiences at scale.
Dont be left in the dark, Shine Brighter with Adshel.
www.adnews.com.au | June 2017 23
thing, he cautions against data be-
People are coming the Achilles heel of the
apprehensive about industry.
We should be very aware of pri-
programmatic. vacy policies. As technology chang-
Automated buying es, we need to constantly be think-
would mean we ing with a customer perception, as
would become a well as thinking about our clients.
commodity, the At the crux of it, data is giv-
ing media owners, agencies and
industry is not ready. advertisers a level of accountabil-
ity hitherto unseen in the OOH
industry. Roddick sums up the
challenge: Its hard sometimes in
Goa CEO Chris Tyquin the blood and bullets of the work-
ing day to remember how much
change is going on in how we plan
and buy media. We have to keep
reminding the industry of what's
possible and inspire advertisers
to use every ounce of potential in
this medium.
nnect and eng e iences
at scale with unriva ed p c
a saability.
adshel.com.au
s c .
 Accelerate brand growth with TV.

TV drives 81% of auto sales despite TV

making up only 53% of media budgets.

81%
TV sales
%
53 contribution
TV spend
allocation

Ave media spend allocation (%) Ave sales contribution from media (%)

TV RADIO DIGITAL (DISPLAY, VIDEO, SOCIAL) SEARCH PRINT OOH CINEMA

Ebiquity; Payback Australia Automotive Report 2017.

All figures quoted are category averages.
 Investigation

s
Les cho n s
to l a u n
e n c y
an ag bu s i n
e
ess hav one
n the g it al
o s t p eople i ht about goin than
M g re
ly thou kes mo
probab oint, but it ta f being your
ep o
at som nd the dream ncy. A f lurry
a ge
an idea s to start an a r Glasse
s,
b o s Ug l y, M
own ops like dam Ferrier
s
ew s h A
of n nd ir
unny a ned the
72andS ell, have ope established
rb re
Thinke ently, but mo d lessons
ec e
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ie s
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he way
along t
B Y
R D S R
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E B A
S I
R O
 Investigation www.adnews.com.au | June 2017 26

here will always be new agencies launching and most people have
T toyed with the idea of going it alone at some point but it isnt for
everyone. The temptation of being your own boss, working with clients
you like and doing work that inspires you is understandably attractive.
Particularly when the stress of agency life sees a lot of people sitting at
their desk, frustrated by the organisation theyre in, uninspired by lead-
ership and sick of working all the hours of the day for the man.
Meanwhile, there is a flurry of new creative shops opening up in Aus-
tralia making headlines.
It was timely that Adam Ferrier, Jim Ingram and Ben Couzens, just re-
vealed the details of their new venture Thinkerbell as we went to press,
just three months after their sudden exit from Cummins&Partners.
(See page 29).
Hazelle Klnhammer, former CEO and founder of Anomaly Amster-
dam, exTBWA Sydney ECD Gary McCreadie, and former M&C Saatchi
head of strategy Ross Berthinussen, also teamed up to launch Ugly.
Chris Campbell has launched experiential agency Mr Glasses, and in
a slightly different set of circumstances, 72andSunny officially opened
its doors in Sydney after months of speculation.
But whats it really like to start an agency? ABOVE: Uglys three founders
clicked immediately.
Have passion and purpose viced by a plethora of different
While there are endless ways to go about setting up an agency, and a specialist agencies.
multitude of reasons to do so, there was one piece of advice every single For Uglys three founders, they
agency founder offered. Passion is the vital ingredient. wanted to build an agency that
If you dont have a passion for what youre about to embark on stripped out the complexity they
dont. And they were unequivocal under no circumstances should you saw elsewhere.
consider setting up an agency if you dont thrive on risk and adventure. Values are critical to a startup,
You have to be driven to create an enduring entity, The Hallway found- Klnhammer said. Its as much
er Jules Hall said. Starting your own business sounds like the key to liber- about your values as it is your cre-
ation but its actually a massive commitment its like becoming a parent. ative ambition. You want to do it
You build resilience along the way, but you have to go in with your based on your own expertise, com-
eyes open. Its the most rewarding thing in the world, but any small busi- bined with your personal values.
ness owner will tell you that its terrifying. Jim Ingram sums up how they feel
Mr Glasses Chris Campbell said experiential and bringing brands to about launching. Its been a while
life is something hes always had a passion for so launching a new ven- since weve gone to bed with that ex-
ture made sense. Once it started, they tried to get in front of clients and cited energy, rather than going to bed
preach what they were about, as much as possible, he said. worrying about something.
Former managing director of Common Ventures, Damian Damjano-
vski, agreed. In April he stepped back from the agency he founded after The financial stuff
five years. Common Ventures was borne out of its founders frustrations Starting an agency isnt just a pas-
with the way things were at Ogilvy and the siloed way clients were ser- sion project. Theres a serious side

Founders story: The Hallway

Jules Hall founded the Hallway
in 2007 in a unique set of
circumstances. The agency is now
a decade old and still going strong.
At around 45 people its not the
biggest shop in town, but it has an
established reputation, a strong
business and a happy team.
A Brit, Hall was a competitive
rower before getting into sailing,
in his days before advertising.
Back in 2001, he bought a boat
with some friends, using a home
improvement loan, and began
competing in races on the coast
between England and France.
Along the way, he picked up
sponsorship from Jameson Irish
Whiskey which paid the running costs
and saw the brand conduct sampling
activities around sailing events to get
the brand in hands. Over the course
of several years the relationship
ramped up until owner Pernod Ricard
ended up as the headline sponsor of
the sailing events.
After moving to Australia, Halls
crew convinced Pernod Ricard
to do the same here. In 2007,
the brand wasnt happy with its
then agency and because of the
personal relationship over the past
seven years, invited Hall to take
over the account.
Working at the time at digital
agency NetX, Hall had ideas of setting
up an agency, and the approach from
Pernod Ricard meant he could turn
the idea into a reality with the global
drinks brand as its founding client.
I adored the brand, he said.
I embraced the values, and the
level of service they got [from the
agency] was exceptional.
The Hallway gained notoriety in
its first year, winning Gold Lions and
being shortlisted for a Titanium at
Cannes in its first 12 months.
 Investigation

Damjanovski echoed this.

We talked to a whole bunch
Mr Glasses launched with of people and the best advice we
a live street art demo. got was from accountants, he
revealed. Its good to get out of
the bubble and talk to people who
arent in the business. You need
some pragmatists on board.
Hall agreed finding people who
know about the running of a busi-
ness is vital, and getting valued input
from people who have been around
the business block a few times. One
of his closest advisers was a former
CEO of an insurance company who
set up the backend of The Hallway
and stayed nine years, only leaving
the agency last year.
I got a lot of schooling on the
business side of things such as
staff and cost ratios, operations,
billings, tax. He was a wise busi-
nessman, Hall said. Never un-
derestimate the value of grey hair
he gave us a few clips around the
ear and was a guiding voice.

With a client, or without?

and the very real pressures of having to balance the books and keep the lights There are two ways to start out
on, without the security blanket of an owner or employer, hit home fast. with a founding client, or without.
Uglys Gary McCreadie said its a steep learning curve. After being
Starting your own There are pros and cons to both.
part of bigger, established agencies, when you launch a startup you find business sounds like If youre in the position where
yourself doing everything and wearing a number of hats all at once. Its the key to liberation you have a foundational client
important the founding leadership team has a balance of creative skills but its actually a ready to put work and revenue
as well as business acumen, he explained. Creativity can easily be di- massive commitment your way it means you can imme-
minished by the weight of business realities and not everyone that has diately start working with a little
the vision to start a creative agency is suited to it.
its like becoming a more security. But, there will still
Taking advice from as many people as possible is a good starting parent.Its the most be the need to win new business as
point. While other agency founders are a great source of knowledge and rewarding thing in well keep the revenue coming in.
advice in setting up your new venture, its vital to get advice from out- the world, but its One problem for small agen-
side advertising and media to provide a reality check. terrifying. cies is the need to keep the lights
The growth in the small business sector, and those looking to launch on and pay salaries often means
a startup is phenomenal, Collective Hub COO, Allan Fletcher told they fall into taking briefs and
AdNews. Entrepreneurship is increasingly important in this age. The work they didnt intend to, which
ability to imagine a different future and be able to adapt, free of the usual can quickly derail the vision the
corporate restraints, is going to be the difference between the individuals Jules Hall, founders set out with.
and businesses that thrive, and those which become obsolete. People are The Hallway CEO Were not looking for a lot of
beginning to recognise that, and increasingly they want to take their and founder clients, but youre defined by your
future into their own hands. clients, so were looking for the
Collective Hub is running is fifth Kick. Start. Smart. event in August, right ones, Klnhammer said.
which offers a series of panels and workshops designed to help anyone To avoid falling into that trap
get their small business or startup off the ground because there is so you need to do a lot of planning
much demand. upfront and know exactly when
While starting an agency might be considered going it alone, its im- you need to have a number of
portant not to take the alone apart literally. clients or reach a certain level of
When its your own business, its personal. You dont get to clock revenue.
off and forget it. Youll be thinking about cash flow and staffing in your While The Hallway launched
sleep. And those worries never go away, they scale with the business, with a major client already on
Fletcher said. board, Hall explained that either
You need a network. You cant work in a silo, it gets lonely being an way, you need someone to take a
entrepreneur. Whether its a fullon advisory board or some mates you re- leap of faith at some point to get
spect in the pub, ensure you have a range of views and experiences you can the ball rolling.
call upon for guidance and a different perspective.

Lessons learned
Damjanovski is candid about
the lessons learned along the
way. One that Common Ventures
learned in its early days was that
being independent and different
wasnt enough.
Any new business needs to
have a clear differentiator that
can be clearly articulated so that
clients know what theyre getting
and have a reason to work with
the agency. Nine months in, the
agency realised it didnt have a
clear enough mission statement
and needed to pivot its strategy.
If you put all new agency
creds side by side, they all look
the same, he said. New agencies
dont spend enough time on what
they stand for. Everyone thinks
well go out and be different but
not about how they want to be dif-
ferent. Thats a trap thats easy to
fall into.
Hall agreed. For him, its im-
portant that any new agency spe-
cialises in something, rather than
being a jack of all trades. He said
while there are relatively low bar-
riers to entry for agencies all you
need is ideas its much harder to
succeed than it is to start out.
You start doing what you want
to, but at some point you need more
dollars [and take any work]. But, as
soon as you do that, youve solved
your shortterm cash issue, but re-
define your brand, Hall said.
Youve got to be the best at
something; a client has to have a
reason to call you.
Something else Hall learned
was the importance of cementing
culture early on so that when the
agency scales it remains strong.
We left it too late to codify our
culture, he admitted. Culture
is guided by the founders as you
grow. When you get to the point
where youre not doing all the hir-
ing yourself it can be difficult to
hold on to, so, a few years later we
did that process and articulated
what we hold dear.
Damjanovski believes independ-
ent agencies go one of two ways
they become a cult of personal-
ity or a cult of process. If you want
longterm growth, he said, you need
the agency to be process driven,
because at some point the founders
will get burned out. That constrains
Founders story: Thinkerbell
When Ferrier, Ingram and Couzens
left Cummins+Partners in February, it
was out of the blue for most people,
But what wasnt a surprise was that
they were already formulating a plan
for their own venture.
Rumours swirled over what it
would be, what it would be called
and who else would be involved.
What has emerged is Thinkerbell,
promising to deliver what they
call measured magic.
Ingram explains that the
genesis of the agency came easily.
The idea of doing something
together came about easily. We all
looked at each other with the same
twinkle in our eye, and we knew
we were going to have some fun.
Landing on Thinkerbell, and using
measured magic as our philosophy,
all that stuff came easily and
early and its allowed us to set the
foundations for everything were
going to do. A lot of agencies Ive
worked at, you just dont get that
sense of a brand thats been built
from the ground up. Literally every
decision we make we ask ourselves
does that feel like Thinkerbell, and
does it have measured magic to
it?, he said.
The agency began trading
in late May from offices on
Melbournes Chapel Street, and
already has some clients on the
board. Although the trio wouldnt
reveal who, or any project
specifics, it is already working
www.adnews.com.au | June 2017
for at least one major brand, and
the scope of some of the projects
theyre working on go beyond
delivering creative executions
and ads.
Jim and Cuz are the most
lauded creatives in Australia
and Ive got my own reputation
in consumer psychology and
strategy. We have an interesting
combination of complementary
skill sets, explains Ferrier.
Lots of clients are facing
incredibly complex marketing
environments and within that
there is lots of opportunity,
but an increasing amount of
accountability is required.
The challenge for traditionally
structured agencies in that
environment is how they flex
and capitalise on emerging
opportunities. Being a new startup
in this environment is fantastic.
Measured magic, they say,
reconciles the opportunities and
the need for accountability. Ingram
says its refreshing as a creative
to be working on problem solving
for clients beyond ad campaigns.
Usually the measured side is
the back end and the magic side
is the creativity. What were loving
in what were doing is theres
measurement in creativity and
theres magic in data science,
Ingram says.
On Thinkerbells unique
difference to other agencies out
29
there, Ferrier said: One of the most
interesting things about our model
having a psychologist and two
creatives is we can start to think
about the problem holistically,
no matter where the problem
lies, and apply a little magic. If
youre thinking about consumer
experience you can add magic at
any point along that consumer
journey. Plus were getting stretch
into spaces that arent particularly
in the agency landscape.
Like many founders they say
the time was just right to up sticks
and start something of their own,
and believe there is a real appetite
for something new with new
energy in Melbourne.
Couzens said: The three of
us are very creative people, and
weve spent so much time building
other peoples brands, but it just
felt like the time was right to
create our own brand and use that
to help clients.
Its been really humbling the
genuine interest in something
new. Weve felt that coming from
clients, from peers and around the
market in general.
Ingram added: Weve all come
from some of the best agencies in
Australia, and learned lots of things
that work great, and lots of things
that we would do differently. Now
were starting from scratch using
all the bit and pieces weve always
wanted to do.
Ferrier, Ingram and Couzens
offer measured magic.
 Make your content play smarter.
Full motion video | Directional sound | Superior LED display | 5 cities

&RQWDFWXVWRGD\WRQGRXW
why you should rethink your
multiscreen strategy.
 Investigation
the agency if its success is built solely
on them without transferring into a
broader process within the agency.
Having just left Common Ven-
tures, Damjanovski has no plans
to start again immediately. He
said never say never but if he
were to start a new shop, he would
do things very differently.
I was young and dumb [when
Common Ventures started]. Now, Id
focus attention more on being spe-
cific, he said. Id learn how to hire,
how to set it up better and put pro-
cesses and systems in place earlier.
Build your own brand
Once youve made the decision
to launch an agency, you need to
know what story youre going to
tell the outside world. How is this
Founders story: 72andSunny
72andSunny officially revealed its
plans to launch a Sydney office in
late April, but it was two years in
the making. This was to ensure that
when managing director Chris Kay
actually set up shop, it was in the
right market conditions, the right
people were in place, and it had
done its due diligence.
Kay, who previously was
managing partner at BMF, spent the
last four years at 72andSunnys Los
Angeles office. He was tapped to
launch the APAC expansion in 2015
and has been laying the groundwork.
The agencys offices in Sydneys
Woolloomooloo will be followed by
www.adnews.com.au | June 2017
Beat your own drum.
new agency going to differentiate,
what persona is it going to have? So
whats in a name?
There are two ways to think
about it, Mr Glasses Chris Camp-
bell said. If you do good work,
your reputation will precede you
and you can call the agency any-
thing. Reputation will supersede
any silly, clever or amazing name
you come up with.
But, the brand also gives
more exposure and you make a
name for yourself by getting in
peoples faces.
Theres the traditional name
above the door approach which
bred all the classic agencies like
Ogilvy, Clemenger, DDB, and
Saatchis (twice). The Hallway takes
its name from Jules Halls surname,
a Singapore shop in a few months
time where chief creative officer
Johnny Tan will be based.
It will be hoping to succeed
where other global hotshops
have failed to crack the
Australian market. Droga5
publicly faltered after growing
too fast and taking on too many
big clients in its early days,
swamping itself.
Kay said 72andSunny isnt
landing with a fully formed plan,
but is prepared to grow in ways
that reflect the market and respond
to demands. It isnt claiming to
have all the answers, he said.
31
but with a twist. Meanwhile, The
Monkeys originated as Three Drunk
Monkeys a selfappointed descrip-
tor of its three founders. It evolved
to become The Monkeys, allegedly
after some potential clients strug-
gled with the drunk element. But,
would the agency be the same if it
were named Drape, Nowell, Green?
Theres a certain ego at play
with the namesake route, but its
tried and tested, and it doesnt
succumb to trends. Or, you can
find a name that describes the
company or a word that sums
up its values, or something that
just fits.
When picking the name for
their new venture, Jim Ingram
said Thinkerbell came quite
quickly. What they wanted was a
name they felt summed up their
philosophy of offering meas-
ured magic.
We knew from the beginning
we werent going to call ourself
Ingram, Ferrier and Couzens, for
one because it would have created
a shit- fight about whose name was
going to come first.
To McCreadie, his agencys
name Ugly comes from the idea
that beautiful things can come
from something ugly.
A desk to call home
Whether you start out like Mad
Mens Sterling Cooper Draper Pryce
in a hotel room or like The Monkeys
in a shared warehouse in Redfern,
or in a co-working space, youll need
 www.adnews.com.au | June 2017 32

Off the bat, it was a startup be-

ing launched by Saatchi Sydney, but
the challenges [for a new network
office] arent that dissimilar to any
agency starting up, Rebelo said,
adding it was important not to just
replicate Sydney.
It was a little bit of luck, en-
trepreneurship and stars aligning.
We had an entrepreneurial begin-
ning, but it became strategically
important. We set up a mini full
service agency from the getgo,
The writings with the benefit that we had one
on the wall
P&L and could lean on the support
from Sydney.
Current MD of the Melbourne
shop, Mark Cochrane, came on
board about eight months after
somewhere to work from. Rent on office space will be one of the largest ex- the launch. As with any business,
penditures for any small business, so consider sharing space with another 10 things to do Rebelo said, getting the right lead-
agency that has spare desk space, or a shared working space with other ership is what forms the founda-
startups can offer a vibrant environment thats more than just a desk.
When it launched in Melbourne, Saatchi & Saatchi set up within Sapi- 1 Take the
leap.
tions of a worldclass agency.
Chris Campbell started experi-
ents offices, as parent company Publicis Groupe had recently acquired ential agency Mr Glasses six months
the digital business, while Ferrier et al set up in Melbournes Chapel
Street, saying they wanted to be where consumers are - not where other
2 Write a business plan what
are you going to be doing?
ago to complement his existing pro-
motions agency. He revealed that
agencies are. already having the existing compa-

When, where and why

3 Apply for an Australian
Company Number (ACN), a
Tax File Number (TFN) and an
ny allowed them to do research into
what where the gap was, and what
Sometimes its the right time, right place and the right people that come Australian Business Number kind of agency would fill it.
together to see a new agency open its doors. Ugly is not the first agency (ABN) you cant operate Following a soft launch in Sep-
started by its managing director Hazelle Klnhammer. She set up Anomaly without these. tember 2016, Mr Glasses hosted a
Amsterdam, and had been looking to return to Australia after 20 years launch party featuring live street
overseas. She was in discussions with M&C Saatchi about a role, which art painters, in May 2017 to get
didnt fit the bill. I like starting things, the rush and the ride of it, she said. 4 Come up with a name,
register it and the trademark in front of prospective clients to
Klnhammer was then introduced to McCreadie and Berthinussen this is your identity. show them what it could do. You
who had been discussing setting something up together, and they instant- only launch once, so we wanted to
ly clicked. The agency, which is financially backed by M&C Saatchi, but
not part of the group, is just weeks into the venture. 5 Buy the web domain
without a website, does you
agency even exist?
celebrate so people could experi-
ence it, he said.
There are commonalities around starting a new agency whether its in-
dependent or part of a network. 72andSunnys new Sydney and Singapore So, should you launch
shops take it to five. Its owned by investment house MDC Group which
means its pockets are slightly deeper, and it already has a list of global
6 Set up a business telco and
internetplanits goodtotalk. an agency?
If you answered yes to this one
clients it can tap into. But theres pressure to live up to and MD Chris Kay question, then you already know
is cautious in his approach.
Kay says the model 72andSunny takes here will adapt and flex with
7 Find an office space,
whether its your lounge
room, a shared space or you
the answer. But, do you like risk?
As the founder of your own
what the market needs and it isnt arriving guns blazing with the idea it lease premises, you need agency, you open yourself up to
can arrive a ready made success. While there is obvious hype around its somewhere to work. a huge amount of discomfort and
launch, Kay says its not a ta-dah agency. stress. Its your responsibility
Its about what does Australia need, not what can 72andSunny
bring. Id like us to learn and teach in this market. Were not coming to 8 Look into taxes the only
things certain in life are
death and taxes. Youll need to
to pay the bills and make things
happen. If that doesnt appeal,
eat anybodys lunch Id like to bring my own lunch, and bring some- and youre happier with a bit
thing additive and energising to the market, he says. arrange Goods and Services more security, then its probably
Being part of a group may ease some of the startup trauma, but there Tax (GST), and Pay As You Go not for you.
are still challenges. Saatchi & Saatchi set up its Melbourne office two (PAYG) withholding tax if you Damjanovski summed it up: If
years ago. CEO Michael Rebelo said it was always in his growth plan have people on the payroll. you like adventure and risk do
when he took on the top job in 2011. The timing was right in 2015. it. It you like security dont do it.
It won the pitch for Bank of Melbourne before it even had a Mel-
bourne operation, but setting up shop was one of the conditions. Just
9 The numbers get an
accountant. You need fire inside you and you
cant be afraid of failure. Dont do
weeks later, Saatchis Sydney client Toyota announced it was moving all its it as a side hustle thats halfar-
operations from Sydney to Melbourne, which meant another reason to staff
up in Victoria.
10 Get insured protect
yourself from risk. sed. Give it your full fucking focus
give it everything.
 in partnership with 33

Why were giving our clients a

complimentary attribution solution
he sales and marketing mix has
T grown increasingly complex.
Truly understanding whats driv-
ing transactions across marketing
channels can make a significant
difference to the success of cam-
paigns, although attaining these
insights and a holistic view of the
marketing mix can be somewhat
problematic. However, there is one
tool that marketers have at their
disposal, and thats Attribution.
Not an industry event, or admit-
tedly a client meeting goes by with-
out discussing the true role mar-
keting channels play in a consumer
journey advertisers, agencies,
publishers, analysts, and the media
are trying to better understand it.
Adtech companies love to talk about
attribution, commission research
papers and discuss how it can
improve campaign performance when comparing Cadence attribut- spend. We conducted a study with
(theyre not wrong by the way), but
Anthony Capano, ed data against last-click data. the CMO Club and it revealed that
is anyone doing anything to help MD of Rakuten For another client, Rakuten 20% of CMOs are currently allo-
marketers utilise attribution? Marketing APAC Marketing utilised data insights cating budget via channel, whilst
Following our acquisition of from Cadence to encourage both 30% are allocation brand dollars
UK based attribution company DC shows how theyre engagement and clicks for Display separately from direct marketing
Storm, Rakuten Marketing have enabling marketers campaigns. When comparing last- dollars. Attribution gives insight
been working to developing a click with attributed performance into all marketing performance.
proprietary attribution tool, to be
to look beyond a Cadence proved a 40% higher aver- Using an attribution model to de-
made available and distributed to single channel and age-order-value (AOV) for convert- cipher budgets, provides marketers
all Rakuten Marketing clients, at no to see whats working ing journeys influenced by display, with an accurate view of channel
additional cost. compared with the retailers site and campaign performance, giv-
and whats not, average. Without a robust attribu- ing marketers a total view, and
Why are we giving our providing the power tion solution, the above mentioned allowing for successful campaign
attribution technology advertisers would not have had the optimisation.
Cadence to our clients?
to make strategic insight to make strategic optimisa- Through Cadence we are mak-
As the path to purchase becomes decisions that are tion decisions. ing it easy for brands to have a
more complex, attribution pro- more accurate, data- Further to this, Attribution is complete view of marketing perfor-
vides insight into how consumers what elevates good data to great mance. We are enabling marketers
are interacting with a brand. We driven and effective. data. Through analysing convert- to look beyond a single channel and
have been in beta testing with se- ing and non-converting consumers to see whats working and whats
lect clients for some months, and journeys, marketers are delivered not, and providing the power to
have been able to demonstrate insight into what is and isnt working. make strategic decisions that are
to brands the value of having a This data provides a greater under- more accurate, data-driven and ef-
complete view of the consumer standing of marketing efficiencies; fective. We want to make certain
journey, juxtaposed with a simple wasted ad-spend and consumer in- that our clients are armed with the
last-click wins model. For example, clinations; how different creative and complete information when mak-
one of our affiliate clients sought messaging work across networks; ing marketing decisions.
insight into the role its content and which channels are causing the All the buzz is well founded, and
publishers were having on the path highest bounce rate. This data may Im happy to say that we are putting
to purchase within the fuller con- reveal an opportunity to make quick some skin in the game, by provid-
text of the user journey. Through changes, which drive greater results. ing a complimentary solution to
attribution we determined a 115% A holistic view can then be used our clients, in order to help them
increase in content publisher ROI to assess budgets and marketing along this journey.
 Creative Focus
Whats your best story
from Cannes Lions?
Its the festival when the movers,
shakers and stars of the creative
industry come together to celebrate
excellence. But, it isnt all award
ceremonies and networking.
This month, adland will descend
on the south of France for the
annual Cannes Lions International
Festival of Creativity a weeklong
event that brings together the
industrys best and recognises the
very top shelf in creative talent.
There will be the usual adver-
tising celebrities, like WPP CEO Sir
Martin Sorrell, Publicis Maurice
Levy and Droga5 founder David
Droga on stage alongside real celeb-
rities, from photgrapher Mario
Testino, hiphop star A$AP Rocky,
Demi Lovato and Fashion designer
Alexander Wang.
But, the festival isnt all acco-
lades and education. There are
sponsored parties on sizeable
yachts populated by linenclad
execs, parties with private perfor-
mances by the likes of Ed Sheeran
and, of course, thousands of bot-
tles of ros waiting to be guzzled
down by adlands thirstiest.
From boating injuries to embar-
rassing ones self in front of global
colleagues, AdNews asked Cannes
veterans to share their best ros
induced stories from the festival
that stops the creative industry in
its tracks.

Ive never kept any awards Ive won. Im not making a
statement. Ive just never bothered to keep them safe
and lug them from country to country or office to office
with me. They either end up left on the table on the night
or given to someone who worked on the campaign the
following day.
Although, there is one exception.
In 2013 in Cannes, I was having a leisurely dip off
the Plage de la Croisette one morning when I stumped
my toe on something sticking out
of the sand. At first I thought it
I was having
was a rock. But, then it glim-
mered. Spa rk led. The shiny,
a leisurely dip
golden object called out to me.
Before long, I was like an ever
off the Plage
soslightly better looking Gollum
from Lord Of The Rings clamour-
ing for his precious. de la Croisette
What I dug out was a heavy
metallic statuette with the head and stubbed
of a majestic lion. Im not going to
tell you what happened to that Lion
for fear of incriminating myself
my toe on
and being banned from entering
Cannes, or France, ever again. Ill something
just leave this here instead.
sticking out
of the sand.
It glimmered.
W E S L E Y H A W E S
Marcel ECD
www.adnews.com.au | June 2017 35
This story took place the first time I was in Cannes. It was
back when Paul Reardon, Tom Martin and I had scored a
trip, compliments of the Sirens radio awards.
Halfway through the week, and already sleep
deprived, the three of us decided to recover by doing
some casual tube riding behind a boat in the stunning
harbour.
As we donned our life jackets, Paul inched his way
over to the captain of our boat Ren and whispered,
I want to go fast Ren. I usually go 20, maybe 25km
an hour ... bon, Ren replied. Reardon
smiled, No, no. I want to go fast Ren.
Ren smiled back politely, but shook Today
his head. I take you maybe, 30km. Beyond
that is not wise. Today is a good day is NOT a
to die Ren! Paul said, beaming with
encouragement. Ren sighed and started
the boat. Undeterred, Paul shouted to him
good day
again as he pulled away, Today is a good
day to die Ren!
to die!
Tom and I were already atop the tubes on the sand.
The boat took off, the ropes went taut, and we were sent
racing. So fast that, as we went over so much as a ripple,
we got air. Paul shouted again from his tube, Today is a
good day to die Ren! laughing wildly. I screamed back,
Paul! Today is not a good day to die! Today is NOT a
good day to die!
Of course, we eventually fell off and bounced wildly
along the surface. By the end, we stumbled away black
and blue. Massively fun, but utterly terrifying.
Afterwards, Ren told us that, despite his better judg-
ment, hed decided to give us what we wanted, flooring it
to over 40km/h. Cannes harbour is stunning. As it turns
out at high speed, its very, very solid.
J U L I A N S C H R E I B E R
Cummins&Partners ECD
 Creative Focus
Back in 2014, I was with a colleague Alex Carr, MD of
Havas Sydney at the time, and a Crystal Palace tragic.
We were invited for lunch with the guys from Finch. It
was a blisteringly sunny day and we were ferried across
on a dinghy to this 100-ft yacht.
Plied with copious amounts of wine and beer, we
stayed far longer than we should have. It was well past
sundown when we got back to shore and we were due
at the Havas Caf for a Rio football World Cup event
with some very famous explayers, including World
I remember
suddenly
becoming
sober as I saw
our global
CEO and CFO
Cup winner Marcel Desailly, for
a talk about football, leadership staring at us.
and marketing. It was packed. We had to talk our way
in because, (A) we were late, and (B) we were sozzled.
They put us at the back. We were quite loud, shout-
ing witty banter from the back. It came to the Q&A and
eventually one of the guys on the stage pointed at Alex.
I have a question for Marcel. Is it true that the biggest
disappointment in your career is that you never had the
chance to play for the mighty Crystal Palace?
It went very quiet. I remember suddenly becoming
sober as I saw our global CEO and CFO staring at us. After
what seemed a solid minute of silence, Marcel responded,
I love Palace and started laughing and then everyone
did. Alex and I turned to each other and cheered and
embraced like we had just scored the winning goal.
J A M E S W R I G H T
Havas Creative Group COO
and Red Agency CEO
www.adnews.com.au | June 2017 36
It seems hard to believe that there are so many in our
industry who write off Cannes as an irrelevant rosfue-
led junket. It has become the annual whinge of those
who have never attended, dont value creativity, or have
formed a superficial view of the festival based on the
endless stream of party photos.
I was an
In fact, the reality is that the Cannes
lunches and parties are just as impor-
tant as the awards ceremonies, exhibi-
tions, keynotes and workshops. Thats Australian
because its at these casual gettogeth-
ers where the creativelyminded come
to talk about our industry for real.
at an Indian
People there are talking openly and
honestly in that good old fashioned
party in
facetoface way. the south
A great time in Cannes Ill single out
was not with a glass of ros in hand,
but with a bottle of Kingfisher beer.
of France,
We had scored invites to The Times
discussing
of India party, the highlight of the fes-
tival for the thousands of Indian dele-
gates. Nestled on the beach between
the Facebook bash and The Shots
American
party, you could hear the Bollywood
DJ long before approach.
creative
I talked with the CCO responsi-
ble for his networks creative work
work. Pure
across the subcontinent. Who would
have thought there would be so many
Cannes.
issues in common with our local industry? I met an
amazing Indian commercial director who had done a
great American campaign.
I was an Australian at an Indian party in the south of
France, discussing American creative work - the night
was pure Cannes and all the proof you need that bring-
ing people together to chat, eat, drink and celebrate
creativity is something we should all do more of. The
only lowlight of the party was my Bollywood dancing.
J O N S K I N N E R
The Core Agency founder
and creative partner
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 The Big Question
IS THE FRENCH
ECLAIR AS
SWEET AS
IT LOOKS?
W O R D S B Y
R O S I E B A K E R
rance has had a law in place
F since the 90s designed to en-
sure greater transparency, fewer
kickbacks and rebates. It prevents
agencies buying media in bulk in
advance and reselling it to clients
later or acting as the principal.
The legislation, Loi Sapin, means
agencies can only act as agents for
clients, and can only be paid by
advertisers. Earlier this year it was
extended to cover digital media
something it hadnt covered previ-
ously. The law will come into effect
next year. And its a big deal.
In a column published online by
AdNews two months ago, shortly
after Bohemia was acquired by
M&C Saatchi, CEO Brett Dawson
suggested that more, not less reg-
ulation should be welcomed in
Australia.
Dawson, who has always hung
his hat on the tall tree of transpar-
ency, believes the AANAs contract
templates and guidelines should
be adopted as standard. And
that Australian agencies should
formally agree to uphold industry
wide standards of ethics.
He stated at the time: The role
of a media agency is clear. Its to
provide unbiased specialist advice
on how to best navigate a complex
media world and to ensure clients
get the best value and return for
their money.
But, he noted there is bias com-
ing from holding groups.
At present, too many media
agencies are opaque agents of the
media owner and holding group,
Dawson asserted. It has to stop.
Only one type of media agency
should exist and that is a transpar-
ent agent of the client.
The broader industry is gov-
erned by selfregulation, which is
watched over by the AANA, ACMA
and the Advertising Standards
Bureau. There is a voluntary code
and behind the scenes there are
gentlemens ag reements and
understandings. All members of
the MFA agree to its constitution
and a code of behaviour, which
www.adnews.com.au | June 2017 39
specifically mentions Dont bend
Would more
regulation and laws
the law dont go looking for
loopholes Be transparent and
similar to those in trustworthy.
AdNews has been asking around
France improve about views on more regulation as
media transparency a solution to some of the issues
around transparency. But, its
in Australia? probably no surprise that while a
And, would you lot of people have views on it, many
welcome them? are reticent to share them on the
record, lest they overstep the mark
or say something out of sync with
the holding company or industry
body theyre part of.
Selfregulation shouldnt be
taken for granted. It is constantly
under attack from lobbying move-
ments, particularly around responsi-
ble advertising and placement of ads.
But, if the industry wants to continue
to be selfregulated it must demon-
strate that it can be trusted and the
system works to underpin a fair, sus-
tainable and competitive industry.
Two leaders from independent
media agencies offered AdNews
their views.
 www.adnews.com.au | June 2017 40

S T E P H E N W R I G H T DIRECTOR, PROGRAMMATIC MEDIA

he simple answer to the twopart question is an emphatic yes and So, the new law ensuring dis-
T yes. However, there are serious doubts being expressed in the
French media as to how effective the legislation will be when its intro-
closure will undoubtedly serve as
a deterrent, but whether this in
duced (in January 2018). itself will eradicate excessive mar-
The ultimate aim is to restore trust and eradicate the murky and gins and markups is a far more
The new law fraudulent practices in programmatic. So how does the new French complex issue.
law attempt to do this? Perhaps the biggest threat to
ensuring disclosure Step one is the separation of agency and trading desk, preventing multinationals from the legis-
will undoubtedly agencies from being both a buyer and a seller. No issue there in pro- lation is the protection around
serve as a deterrent, grammatic, in fact this is the very tactic the multinationals have used whistleblowers. With external
but whether this will to good effect to muddy the waters and hide murky practices. The detection of murky practices so
eradicate excessive vast majority of advertisers have contracts that provide no visibility of complex, a disgruntled insider is
prices at which the trading desk buys, they only know what the agency almost certainly the best chance
margins and mark oncharges to them. authorities would have of build-
ups is a far more Where the new law starts to bite is in requiring the agency to disclose ing a case that would stand up in
complex issue. relationships with the agency groups trading desk and any technology court.
providers in the digital supply chain beyond this. Further, it specifically Laws that enforce transparency
prevents the contracted agency to receive any rebates from the publisher. are welcome, but they arent the
Sounds great, but disclosing these relationships and preventing a whole solution. They are merely
rebate back to the agency doesnt in itself prevent overcharging. There a first step. It is only affirmative
are a multitude of ways in which multinationals can recoup funds and action by advertisers that will truly
add cost through the digital supply chain. reform the errant behaviours of the
And who is to be the judge of what constitutes a fair markup and mar- multinationals.
gin? To even begin to assess whether an advertiser is being overcharged Advertisers in France will need
would require full disclosure of all markups and margins across the to be careful not to get false com-
digital supply chain. fort from the new legislation.

SIMON RUTHERFORD CEO SLINGSHOT MEDIA

hanges to the French transparency laws are yet to come into effect so far that it is impossible for those
C for digital (January 2018), allowing agencies and other operators to
put the systems in place or to separate trading desks so that they can be-
agencies to make money.
And, for every media owner who
come compliant. At this stage, we have no real way of knowing whether would welcome such legislation and
the changes are a good thing or not, because we havent seen the impact. new levels of transparency, there is
I dont want to work Would more regulation and laws improve media transparency in a media owner willing to cut their
in an industry that Australia? Perhaps they would, but is it too late to adopt these laws here? throat to get business in the door and
is heavily regulated, Would those less transparent agencies/operators either block the change offer an incentive to do so.
or just find other ways to get around the laws? For most people, the fear of loss is
but it might be the
As far as digital is concerned, its less about that fact that agencies are greater than the desire for gain. The
kick in the pants the using internal trading desks and more about the undisclosed margins industry might gain a whole lot by
industry needs. they are making. And how little of a clients money actually goes towards moving to a more transparent regu-
buying digital media. lated model, however, there are too
I dont particularly want to work in an industry that is heavily regulated, many people who have too much to
but I fear there are too many competing agendas for us to get to agreement lose to let that happen, so it wont.
on a way forward, so it might be the kick in the pants the industry needs. Market forces will have to dic-
The bigger question however is: Is it likely to happen? The answer tate the outcome, so clients, agen-
to that is no! cies and media owners should vote
The Australian marketplace is a deregulated marketplace; market with their feet, or at least those
forces dictate the outcomes. Yes, there are agencies benefitting from the who care enough about transpar-
lack of legislation. Equally, there are clients screwing agency costs down ency should.
The future of customer experience
Experience architects
of the new marketing
ccentures remit has evolved
A in line with the challenges
and changes its seeing for mar-
keters. Marketing isnt just cam-
paigns but an end-to-end experi-
ence. It requires different skills
and a different mindset to survive
in this new marketing world.
Ir w in Lim, Accenture
Interactive Marketing Services
Lead for Australia and New
Zealand, brings to bear 20 years
experience in digital and mar-
keting transformation. His remit
has expanded to incorporate
all aspects of digital marketing,
personalisation and emerging
technologies such as artificial
intelligence and machine learn-
ing, which are becoming a bigger
part of the new marketing world
brands are facing.
New technologies offer a world
of possibilities, but it can be con-
fronting so its important to take a
step back, says Lim
Theres a whole bunch of lim-
itations with technology when it
comes to the marketing perspec-
tive. Take Artificial Intelligence
(AI). I think a lot of peoples notion
about what AI is, is what the indus-
try calls strong AI, so things like
C3PO from Star Wars, that kind
of AI. Versus what the reality is.
A very good recent example is
Facebook chat bots, he explains.
A lot of what people are
already interacting with is whats
termed weak AI. Its AI focussed
on a specific use case, like recog-
nising an image or knowing what
product you will likely buy, for
example this kind of cool stuff
is happening right now. The most
exciting thing for me is the modu-
larisation and commoditisation of
these things because once it has
gotten to that level of ease of use
and adoption thats when it can
really drive value for business.
Lim is clear that tech and
data are not enough. It has to be
www.adnews.com.au | June 2017
complemented with content and
rich creative to bring it to life for
a brand.
The always on customer is
looking to interact with your brand
any time, anywhere. So, how mar-
keting has evolved into what we
call new marketing, is that its all
about relevance, the right time and
the right price point. For me it is
all about putting together the right
experience. If I were to sum it up,
big brands and big products are all
about the experience.
Experience is very differ-
ent from products and services,
and traditional brand commu-
nication. So new marketing is
really around this thing that I
Technology and call Experience Marketing with
data have created a capital E and M. Focussing on
tech is not enough, great content
a new, silo-less is not enough, or just having the
world for marketers. data is not enough. Today it is all
Accentures about how you blend these things
together. How good you are at
Irwin Lim has coined blending these things together
the new paradigm will dictate how well you play in
this new space.
Experience It starts from designing inter-
Marketing as it actions around the whole experi-
blends creativity, ence, not just a campaign around
a brand strategy for the year. What
tech, content and does that mean for the customer
data to touch people journey? It goes beyond commu-
nications, to what people call the
at every step of moments of truth.
their customer It s not a n ea sy t h i ng to
journey. And new achieve and often means a huge
shift in the mindset of an organ-
marketers need isation. To Lim, it needs input
to be experience from technology operations and a
customer development mindset,
architects, fluent in open to continuously optimising
all the disciplines. the experience, tweaking it and
adapting.
If you put all of those together
it starts to sound quite different
from a brands traditional strategy,
campaign, measure mentality.
From there it comes down to
breaking down the silos within an
organisation or within marketing
41
departments. There are teams for
media, marketing, planning, cre-
ative and more, with each often
working on different KPIs and mea-
suring success differently.
Ive found this is another road-
block to getting the whole experi-
ence and journey thinking right.
You need to pull them together to
do Experience Marketing, he says.
Once you get teams committed
to shared metrics and how they
measure those outcomes it starts
to make more sense. One way
Accenture has found to demon-
strate that Experience Marketing
and joined up thinking works
particularly to larger organi-
sations that have more complex
structures is to start with a niche
project where the approach can be
put to work on a smaller scale and
used as a proof point.
Lim talks about experience
architects as the pin holding this
all together. Accenture Interactive
has built a team of these people
with the right skills, who are able
to see the big picture but are also
comfortable operating at the micro
level.
Its not so much about having
a 100-person team of experience
architects, but having the capabil-
ity and people who are fluent in
data, technology, creativity and
marketing.
These individuals become
re a l ly i mp or t a nt i n put t i ng
things together, Lim says. You
need to bring all these different
ways of thinking and different
cultures together. To get that
mentality you have to have indi-
viduals in the business who have
these skillsets, who are f luent
and comfortable and know how
to put things together.
Sponsored by
 www.adnews.com.au | June 2017 42

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 Ad tech 101
What is...
THE AI REVOLUTION
Why the rise in AI?
Artificial intelligence (AI) is far more
than a buzzword. In a world where
marketers are continually pushing
for better consumer personalisation
and solid marketing ROIs, AI helps
by giving that high degree of preci-
sion and micro-targeting thats not
possible for humans. The rise of this
term across the media and marketing
landscape can be attributed to the in-
creasing improvements in technology
and smarter algorithms that are sync-
ing in with higher quality data sets.
AI removes the need to spend re-
sources on lower level processes
which can be handled by a machine.
It helps the marketer as it can analyse
data patterns and deliver results not
humanly possible. Think of AI as a
Rubiks cube on steroids, says Ora-
cle Marketing Cloud regional director
Will Griffith.
www.adnews.com.au | June 2017 45
In a nutshell
Artificial Intelligence (AI):
AI relates to the intelligence
that is shown by computers.
As algorithms become
increasingly sophisticated
they can react and and adapt
to changes far better and
slicker than ever before.
The concept of computer
intelligence relates to
how machines learn
through interaction with
their environment how
to best achieve a goal.
The role of data in AI
When you layer or integrate data sets, such as first or third par-
ty data, within AI, the increasingly sophisticated AI algorithms
absorb that new-found knowledge and can not only respond to
changes better, but can alsocreatechanges in real-time. AI
machines work best if they are given lots of data that helps them
understand what criteria achieves the goal. The AI machine can
learn from that data and be better at predicting how to get to
The next steps:
the goal.
1. Understand where and
how AI can help move a
AI in a media landscape: marketing strategy forward
While AI stands for artificial intelligence many say theres noth-
2. Have a clearly defined
ing artificial about it. Oracle Marketing Cloud thinks of AI as
use case, goals and know
adaptive intelligence. It says when you have the analytics layer
how to track them
for AI, this intersection of human judgement and machine au-
3. Lose the fear that
tomation creates a far more personalised and relevant experi-
you will loose control of
ence for consumers, on behalf of brands. AI learning uses first
marketing processes
and third party data to make the best recommendation possible
in real time after each new click all with the aim of driving
a sale. When it works (e.g. a sale is made) it will remember you Sponsored by
and what your hot button was, so that when it encounters anoth-
er visitor who looks and behaves like you, it knows what to do
sooner in the journey, increasing the likelihood of another sale.
Meet the Team

N ews Digital Networks Australia (News DNA) was born out of

NEWS DNA: the recognition that brands have shifted from advertising in
individual titles to buying audiences.
Brands are less interested in one siloed campaign in sites like

THE RETURN OF taste.com.au or Vogue.com.au. Instead, they want to target con-

sumer segments, such as food or fashion, across a range of News
Corps titles, which is where News DNA aims to excel.

THE PREMIUM The main reason we needed to launch News DNA as a sepa-
rate network was to reconfigure the way we organised our port-
folio. We used to do it through brands, which works in traditional
media, but in the digital media world, clients are buying audi-

PUBLISHER ences, News Corps chief digital officer Nicole Sheffield said.
News DNA allows advertisers to target 24 segments, from car
and home buyers, to tradespeople. For instance, if a brand wants
to target a food audience the advertising solution goes beyond
taste.com.au, with News DNA offering up a broad selection, from
Concerns over fake news, brand safety news.com.au to GQ.
and transparency are priming the return With News DNA, we are starting with a blank sheet of paper.
We already had the products, the websites and the data in place,
of the premium publisher that can offer a Sheffield said. But, we were able to organise them in a better
safe and quality environment for brands. way to deliver outcomes for clients. This also meant sharing best
Poised to rake in the dollars, News DNA practice across the network, of what worked.
In less than 12 months, Sheffield has held three different job
has revolutionised News Corps digital titles within News Corp, from CEO of NewsLifeMedia looking after
offering. And its only nine months in to its its print magazines, to MD of the business new digital arm News
Digital Networks Australia (DNA), and now her latest position as
aggressive threeyear plan. News Corps chief digital officer.
As Sheffield has continued to rise up the ranks of News Corp,
she hasnt dropped any of her former duties, rather just expanded
her role to include new remits.
W O R D S B Y We are definitely ticking the boxes with New DNA. Its a
L I N D S A Y B E N N E T T three-year plan and its aggressive, but so far its tracking well,
she said. My team is brilliant. They are people who have been
galvanised to deliver not just revenue or traffic growth, but
engagement to clients. Its not just about experiencing us once
its about return revenue.
While Sheffield is kicking goals, she recognises the challenges
facing News DNA and the wider media industry, including fake
news, brand safety and transparency. Although some may believe
all digital media is tainted by YouTubes recent boycott crisis,
Sheffield is adamant that not all digital is created equal.
I dont think weve been fairly compensated for the quality
of our network, but the times are changing. News Corp is in a
prime position following the brand safety issues because were-
Nicole Sheffield focused on delivering premium audiences in trusted environ-
powering premium ments, she said.
publishers
Im very excited by the return of the premium publisher
because Ive been nagging on for years about the value of our
audience. And now people are starting to want to understand it.
With an unassailable passion for content and women, Sheffield
has also driven the launch of News DNAs womens network,
Whimn.com.au, which she revealed is exceeding expectations.
Ive learnt a lot from setting up News DNA and Whimn and
collaborating with the rest of News Corp in doing so. But, Im
the most proud of my team and what theyve delivered in a very
short time, she said.
The biggest opportunity and the biggest thing an organisa-
tion has to get right are its people, and the definition of success.
It doesnt matter if youre a TV network, magazine, digital net-
work or creating a new operating model, the right people will
make it work.

S I M O N S M I T H E X E C U T I V E
What is your previous experience in
the industry?
I guess you could say that Im
definitely a media junkie. Its been
a part of my entire working life
since cutting my teeth doing work
experience in radio at the ripe old
age of 16. I have lived and breathed
this industry every day since. Ive
been extremely lucky to have had a
diverse range of experience across
commercial, editorial, marketing
and events and adio, publishing,
magazines, TV and digital. While
these have been different roles
across many of Australias biggest
media companies the one thing in
common is that at the end of the
day its all about using content to
connect with audiences and that is
what I love about this industry.
D I R E C T O R O F
How have you settled into your
new position?
A bit like a duck to water, I feel like
Ive come home and the support
Ive had from the business has been
awesome.
What is the biggest challenge you
face in your role?
Like any big business, there are
complexities around structures,
processes and operating models
to navigate through. But, to be
honest the opportunities completely
outweigh any of the challenges.
Theres no doubt the entire media and
marketing industry faces a variety of
different challenges and Im looking
forward to helping our commercial
partners find the right solutions to
their content marketing needs.
www.adnews.com.au | June 2017 47
C O N T E N T M A R K E T I N G
Why did you return to News?
It feels like Ive come home as this
is my third time back to News Corp
Australia. Someone once said to me,
you dont work for companies, you
work for people and to have the
opportunity to work with Nicole
Sheffield, and at such an exciting
time with News DNA, was a no
brainer. To see the vision that she
has for the business, and the team
that she has assembled, Im just
thrilled to be part of that.
 Meet the Team

F I O N A N I L S S O N F O O D D I R E C T O R

What does your role involve?
All things food. I look after the
News DNA food branded assets
and in my FoodCorp role I look
more broadly across the whole
of News at how we leverage
and scale our vast food
offerings. This involves
the development of new
products and services to
evolve our food ecosystem
even further. A big focus
is making sure we really
know our audiences.
This is so we can
connect with them
across our network
in a way that adds
value every minute,
every hour, every day
and create commercial
opportunities off the
back of this that deliver
for our clients. My role also
involves a lot of taste testing (and
luckily Im pretty good at this).
What is the biggest challenge you
face in your role?
We are in the middle of a perfect
storm where the consumer and
advertiser demand for food related
content and marketing solutions
is absolutely booming. Across
our FoodCorp network we have
Australias biggest food media
brands, talent pool and food
audiences and we generate huge
amounts of data. We are perfectly
positioned to capitalise on so many
opportunities that are constantly
presenting themselves. So, a key
challenge for my role is to make sure
that everyone is very clear on what
success looks like and to focus only
on the initiatives that will deliver the
greatest value for our consumers and
advertisers, which is not always easy.
How is FoodCorp tracking
since its launch?
We have had amazing feedback
from the market which really
appreciates they can now easily
access commercial solutions
across trusted food audiences
and environments in one place.
Weve simplified things so that if
you are buying a food audience
youre not just buying taste.
com.au now, but can buy across
all of FoodCorp. This is much
broader than our food brands.
It includes all of our mastheads
and news.com.au, which all have
strong food related content and
offerings. Our FoodCorp team
have been developing some
exciting enhanced products and
commercial opportunities that
were rolling out over the coming
months, so watch this space.

J U L I A N D E L A N Y M A N A G I N G D I R E C T O R N E W S . C O M . A U A N D K I D S P O T . C O M . A U

Whats the most exciting thing
about working in this industry?
Theres almost always a solution
to a problem. The hard work that
leads to a successful measurable
outcome is what makes digital
the place to be in media. Working
through change in some
industries might be confronting,
but in digital media, evolution
(and sometimes revolution) is
simply an expectation.
Whats been your proudest
moment at News?
The first time news.com.au was
ranked by Nielsen as the largest
news site in Australia in April
2013. We had a goal to deliver
that result, with plenty of people
thinking it was either not possible
or would take longer to achieve.
Our teams work best when
theres a quantifiable goal and the
objective to be number one was a
blessing Ill forever be thankful for.
Whats the biggest change
for publishing you see coming
in the future?
Measurement. The measurement
of digital audience continues
to mature and the data
were able to see in 2017
provides a very high level
of accountability. As
publishers and brands
get to see an even more
granular view of what
consumers are doing,
and how they interact
with products, new
information must
surely evolve digital
expectation,
strategy and
associated
tactical delivery.
 www.adnews.com.au | June 2017 49

C A M E R O N K I N G , D I G I T A L C O M M E R C I A L D I R E C T O R

What are News DNAs values?
To me, bringing together our digital
product, content, analytics and
commercial functions into one team
makes us more responsive to some
of the challenges and opportunities
we face. I think there are two
values that are really important in
doing that effectively. First, theres
always investment for a good
idea, and second, deliver on your
commitments.
Whats the most exciting thing about
working in this industry?
The most exciting, and perhaps also
the most terrifying, thing is that what
works for an audience or a brand today
may be completely different tomorrow.
Pace of change is exciting and ongoing
and you have to get used to that. I
also love the relationships built in the
industry. Working in the luxury, fashion
and lifestyle media sector, you may
not think it, but its very collegiate, one
filled with incredible, innovative and
colourful characters.
Whats been your proudest moment
at News?
The proudest achievement was
helping launch News Connect,
powered by Quantium, our data and
targeted advertising business. We
had a great team, some phenomenal
partners and a really exciting new
opportunity to announce. Seeing that
business continue to go from strength
to strength has been really rewarding.
What does your role involve?
Im digital commercial director so
I get to work on some of the most
exciting issues and hobby horses in
digital media and marketing; data,
programmatic, native or mobile
marketing. I get to work with a
phenomenal team that helps plan,
develop and execute amazing digital
campaigns every day.

N I C K S M I T H , P R E S T I G E A N D L I F E S T Y L E D I R E C T O R

What is your previous
experience in the industry?
Its been a little over
20 years now. I started working
in insights and strategy during
uni. I think my first project was
doing focus groups, I then moved
into marketing, then editorial, of
which, GQ Australia was and still
is very much a highlight. Now in a
publisher role, I can bring all that
experience together across all
platforms.
What does your role involve?
Primarily, my role involves
driving growth of the brands for
the lifestyle division of News,
which includes some formidable
brands across prestige such
as Vogue, GQ, Vogue Living
and Buro 24/7, and our homes
brands. Lately Ive been working
across the prestige assets of our
business and we will be bringing
the News Prestige Network
to market shortly, which will
deliver innovation and an
incredible suite of products and
services to prestige advertisers.
Whats been your proudest
moment at News?
Ive had quite a few to be
honest. At News, theres
is a lot of trust given to
category custodians to drive
business. Some of the great
achievements have been the
scale of the experiential
business weve been
allowed to invest in and
grow. Vogue Fashions
Night Out and Vogue Online
Shopping Night, GQ Men
of the Year, or even the
recent Vogue Codes, which
supports the promotion of
women in the technology
sector, are platforms Im
proud of. News is also
attracting great people
and, if I look at my brand
leaders, we dont only
have the best operators
in Australia, but I think
the world.
 Reality Check
Name: Sally Thompson
Silence is Goldblum in Occupation: Florist
Menulogs Less Talk Age: 41
More Eat campaign. I love Jeff Goldblum, I feel like
hes the new George Clooney;
In the ad series, the everyones just getting more and
Jurassic Park star more obsessed with him. I really like
the ads, but it could just be because
shmoozes people Im a bit of a Goldblum fan. Im not
attempting to order one to order food that often but
food delivery over the when I do I actually use Menulog
so maybe Im the target audience,
phone, and instead in which case theyre doing it
encourages them right. The ads are really funny, I
could watch a whole series of him
to use Menulogs interrupting different situations. I
app. But are the dont really have a problem with
people buying what famous Americans representing
Australian brands. In this day and
Goldblum is selling? age I feel like celebrities are kind
of universal, I dont see him as
specifically American, I just find him
an attractive actor.
www.adnews.com.au | June 2017
Name: Tom Dazos
Occupation: Student
Age: 19
These ads are great, I love how
weird and uncomfortable he and
everyone else is. Chances are he
had never even heard of Menulog
before this. There is a massive flaw
in the ad concept though who still
uses a phone to order dinner? Id say
thats my only problem with the ads,
I seriously cant remember the last
time me or any of my mates picked
up a home phone and ordered
food. I like Menulog as a brand, I feel
like theyre trying to connect with
a younger audience which again
brings me back to my question, what
young person uses a phone to call up
restaurants in the first place? I have
seen some pop-ups from Menulog
around Sydney in the last few months
so theyre definitely on my radar.
50
Brand: Menulog
Ad: Less Talk More Eat
with Jeff Goldblum
Agency: Y&R Sydney
Name: Elle Martin
Occupation: Retail assistant
Age: 26
How funny are these ads! Jeff
Goldblum just oozes sex appeal
I reckon. Huge win for Menulog
getting him to be in the ads Im
super impressed. I like Menulog
as a brand, but Im more likely
to use Foodora not for any
reason in particular I think I just
downloaded it first. I like the
awkwardness of it all, it feels kind
of cosy in a weird way. I might
even start using the app now that I
know Jeff Goldblum is associated
with it. In saying that, it is strange
seeing American celebrities in
Australian ads, theres heaps of
well loved Aussies they couldve
used, so I dont really see why
hes in it, but then again Im not
complaining.
Introducing WPP AUNZ

WPP AUNZ is the leading marketing communications services

group in Australia and New Zealand. No other group comes close
to our scale and breadth of capability comprising 5,500 people
working across more than 80 companies in over 170 offices.

For our clients, our companies and our people, WPP AUNZ offers
the opportunity to be part of something bigger bringing together
the best knowledge, thinking and talent to meet our clients
challenges with bolder, better and smarter ideas. We call this way
of working Connected Know-How and its how we are driving
WPPs core strategy of horizontality to unlock value and growth
for our clients.

Our global muscle coupled with local smarts means we are able
to deliver world-class solutions that truly work from the creation
of customised client team models and integrated project teams,
right through to the development of new technologies and IP that
are transforming our clients businesses.

With WPP AUNZ youre in great company.

 Dat Pub
a In lic R
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tm tio
en ns
tM &P
an ub
ag lic
em Af
en fa
t irs

Specia
Advertising

list, Branding & Digital

D
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NAVIGATE THE
LANDSCAPE

2017

AGENCY MAP
Connected Know-How is how we are
driving WPPs core strategy of horizontality
throughout the group. Smart ways of
working together, to share knowledge and
use this knowledge to benefit our clients
and to help grow their brands and business.

To find out more please contact:

Rob Currie, Chief Business Director
Phone. +61 409 712 829
Email. Rob.Currie@wppaunz.com
WPPAUNZ.COM
PP_AUNZ
PUBLICIS GROUPE
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HUMAN CULTURAL CHANGE GEOMETRY GLOBAL MARKETING
SHOPPER MARKETING
PHUEL TRAINING & OGILVYONE
FACILITATION GRAFFITI ACTIVATIONS CUSTOMER ENGAGEMENT

PRISM SPORT ACTIVATION & IDEAWORKS PARAGON RETAIL

SPONSORSHIP RETAIL STRATEGY & SHOPPER MARKETING SERVICES

YELLOW EDGE - GOVERNMENT PLAY EXPERIENTIAL

LEADERSHIP CONSULTANCY AND BRAND ACTIVATION